Kanye West – Way Too Cold video featuring DJ Khaled (Theraflu video)

Unofficial video, featuring young Kanye West imitator

*Director: Ashley ‘@Ash_Innovator’ Smith
*Executive Producer: CiEsta!
*Cinematographer: Ashley ‘@Ash_Innovator’ Smith
*1st AC: Matt Manning
*2nd AC: Aimee Thomas
*Photographer/B-Roll: Genevievee Evans
*AD: U-U Lalibela
*Gaffer: Charles Baker
*Grip: Dave
*Grip: Genevievee Evans
*DIT: Aimee Thomas
*Editor: Matt Manning
*Makeup: MUA Cheri
*Hair: Rozalyn PauPaw
*Wardrobe: U-U
*Accessories: Tina Catherine Eyewear+Opticians
*Equipment: Alex Resnikoff
*Kanye: Caleb Harper
*Rock Star: Jasmin Marilena
*Ronald Regan: Matt DeCoster
*Laura Bush: Miatta Kemp
*George Bush: Dan Parilis
*Condoleezza Rice: Jennifer Scott
*Donald Trump: Andrew Hsu
*Sarah Palin: U-U Lalibela
*SPECIAL THANKS: Peter Darmi

Yesterday, amidst a crowd of 15,000 fans, two of the biggest names in hip-hop took the stage for a two-hour and forty minute marathon of rhymes and beats. As Ye and Jay rose above the crowd on fourteen foot platform covered in LEDs, you could tell this show would be one for the ages. Spitting their verses on “H.A.M.” from their respective “thrones,” and moving right into “Who Gon Stop Me” without a pause. And then joining each other on one stage to belt out their lead single with pyrotechnics and lasers spazzing all over the Bell Centre: “Otis.”

Did I mention this was only the first ten minutes of the show?

The Throne worked through a large chunk of their new album, and then started taking turns on their solo tracks. Hova was right at it with “Where I’m From,” “Nigga What? Nigga Who?” and coming back later on for “Hard Knock Life” and “Izzo (H.O.V.A.).” It seemed to me like Jay wanted a lot of the stage time to be given to Kanye – who was sporting a skirt/kilt and leather leggings for the better half of the night. For every Jay-Z song, there were three Yeezy songs. While I don’t mind the imbalance, as I’m a bigger fan of Ye than Jay (crucify me now – you have my permission), it still seemed strange to me.

Regardless, Kanye was flawless when it came to renditions of “Can’t Tell Me Nothing,” (that had a laser light show reminiscent of his Glow in the Dark tour) “Jesus Walks,” “Touch the Sky,” and “Good Life.” Heck, the songs I’ve listed are just the tip of the iceberg. The duo went through about forty tracks in total, and Kanye even got the chance to do his eight minute version of “Runaway,” as well as  a powerful sing-a-long to finish off “Heartless.” All while standing on a raised platform, of course… in a kilt.

They got through the majority of their new album. “New Day” was definitely a highlight, with the two rappers just sitting on the stage, spitting their rhymes about being fathers one day soon. And when it came time to finishing off the night, “Niggas in Paris’” Blades of Glory sample came through the speakers – the crowd went off! And when they were finished? Again. Went off for the encore. Came back on. Guess what? They played it again. And when it was done? Jay yelled, “AGAIN!” And finally… one more time. Unless my ability to count was lost, they played “Niggas in Paris” five times. And you know what? The majority of us didn’t mind one bit, dancing and bumping to it like it was the first time it had been played. Every. Single. Time. The Bell Centre hasn’t been so electrified by a hip-hop crowd in a while.

Egotistical much? Yeah, but a well-executed show no doubt. They gave the fans more than their money’s worth in lasers, lights and pyrotechnics. I have no idea if another tour like this will hit your town after this leg, especially with Jay’s baby on the way. If you can make it out to a show, despite the pricey tickets, it’ll be well worth your time. That shit cray.

Cole’s strength lies in his storytelling: “Lights Please,” although a story of sexual passion at its highest, highlights issues of parenthood. “How you gon’ look in yo’ son’s face and turn yo’ back,” J. Cole says, providing a reflective perception on a common problem in today’s society.

“Sideline Story” sneers at the faces of the faithless: Cole attacks with a confident swagger, delivering rhymes that tell of his journey from sideline assistant, to MVP youngblood.

Cole has propelled himself into the spotlight in ways that are comparable to mentor Jay-Z and Hip hop’s egotistic Kanye West. Cole delivers somewhere in the middle, providing hard rhymes laced with reflection on his beginnings and his growth as an artist. His do-it-yourself ethic towards the album is noteworthy: His production is lush, filled with varied samples, intricate chord progressions and electronic percussion that takes from the nostalgic sounds of the ’80s and its present-day contemporaries.

Cole World: The Sideline Story is an impressive debut from J. Cole: He shows an understanding of the conventional side of mainstream Hip hop, while incorporating a new approach that may take a few listens to fully understand and appreciate.

I was incredibly excited to get this review under my belt. He has been releasing tracks day in and day out for the past couple months. I have caught some snippets here and there, but finally I had the chance to listen to the “The Album Before The Album” Boy oh boy! I was not disappointed in any which way.

He has Kanye West flow and Lil Wayne lyrics. After this album I wouldn’t be surprised if see him every where. Of course signing with one of the biggest and most respected artists in the world didn’t hurt him in any way. Obviously signing with Jay-Z would be the best things for anybody’s career. Yet, it takes a real man with real talent to make the most of it. If you listen to “Premeditated Murder” you will realize why Jay-Z acted so fast. In a small biography that I read about him he mentions that a lot of music tells stories. I repeat this in a lot of my reviews, but, one of the only ways for me to connect with the music, or even enjoy it Is for me to relate in one way or another. J. Cole does this incredibly well. “Show Me Something” is definitely the album’s outstanding track for it’s passion and depth.

“Premeditated murder” is just a taste of what he’s capable of. It tells a story of the journey he or any musician has had to go through to get where they are now. I have so much respect for people that have had to work incredibly hard to get to the point of success. One of the struggles that he talk about is if people will recognize him when he’s famous. For any individual, success is the hardest thing to handle. People change and become different people. He asks a question mid way through the song “Do you prefer the broke me, or rich me”? I could only imagine what the changes would be like for a spouse, girlfriend, and family. One day your wearing your bunny slippers, the next your walking the red carpet to the Grammys.

Overall J. Cole showcases his talent, passion and drive. Nothing has compared to this in a while.

Inspired by these mythical creatures, I got to thinking, do emcees have muses? I mean hip hop is art too, no? And it is a genre of music just as wildly expressive as rock and roll. Thusly, I sought to examine the existence of the hip hop muse.

I considered the catalogue of the hip hop ode to a woman. Frequently with a decidedly darker edge, emcees have historically paid homage to women. We have all heard Biggie’s “Me and My Bitch” or the ghetto love anthem “Your All I Need” by Method Man and Mary J. Blige, but I consider these songs more as thug valentines; fleeting displays of love and admiration, but not necessarily inspired works of art.

Undeterred, I was determined to find an emcee that appeared inherently changed by the presence of a female counterpart. Immediately, my mind settled upon Kanye West. Fitting that Kanye would be the only rapper I could think of with a recognizable muse as he fancies himself a true ‘artiste’ in the purest sense.

Since being spotted around town with bald-headed, buxom beauty Amber Rose, Kanye has been blessing tracks with lyrics that seem for lack of a better word, inspired. His delivery, cadence and over all style seem to possess a new-found fervor, that I will go on record to say, I didn’t think he had in him*. Accustom to Kanye’s more sing-songy style, these days, Kanye is sounding hungry!

Observe (Pre Amber Rose):
I got a Jones like Norah for your sorror’
Bring more of them girls I’ve seen in the Aurora
Tammy, Becky, and Laura, or’a Shirley
I’m tryin’ to hit it early, like I’m in a hurry
See, that’s how dude became the young pootie tang tippy tow (“School Spirit”, College Dropout)

Now, I’m sure it’s not the wackest shit you ever heard, but it’s far from the best shit you ever heard either.

Observe Kanye’s lyrics, post Amber Rose:
This the fast life we are on a crash course
what you think i rap for to push a f-cking Rav 4,
but i know that if I stay stunting,
all these girls only gon want one thing,
i can spend my whole life good will hunting (“Run This Town”, Blueprint 3)

Save for his comment poking fun at Rav 4s, currently my dream vehicle, not bad huh? The attempt at wit is decidedly more clever, tongue and cheek rather than nonsensical and corny. Admittedly, it may be a bit early to say that Amber Rose has changed Kanye’s music, a full length album would of course be a better indicator, but a close listen to Kanye’s recent work would prove that Kanye is stepping his game up. It’s debatable whether or not this improvement is due to Amber Rose’s good-good, but if a chick as bad as Amber Rose wont do the trick, I don’t know what will.

*Author’s note – Just my personal opinion. Die hard Kanye fans need not argue.

Make no mistake; auto-tune’s made its rounds since way before hip-hop’s less vocally gifted jumped on the bandwagon. Remember Cher? Ever since T-Pain came onto the scene with Rappa Ternt Sanga, he brought with him that wonderful little program called Auto-tune, and detonated it all over the face of hip-hop. To give T-Pain credit though, he does know to write a catchy hook. That’s why “Buy U a Drank” was on every radio DJ’s database, “Blame It (on the goose, gotchu feelin’ loose)” was hot at the clubs, and “Freeze” was spewing out of every kid’s iPod ear buds. The guy knows what he’s doing.

But when you start having Lil Wayne and Snoop “singing” about erupting lollipops, we’ve got a problem. For the fans who love the electric atmosphere of a good hip-hop concert, no matter how good those songs sound now, they’ll never be performed live. Well, they might, but it won’t sound anything like the album version – I promise. Kanye West would know. His entire 808s & Heartbreak album was auto-tuned to pitch-perfection, and it did phenomenally on the charts when it first came out and everyone was oohing and aahing over the utter craziness that is an album fully saturated with voice distortion. While I have the utmost respect for Kanye as an artist, ego or no ego, “Heartless” and “Amazing” didn’t last long in my playlist after the novelty and catchiness wore off. I have an Auto-tune Quota, and “Love Lockdown” unfortunately filled most of it.

Back to Jay-Z’s declaration of war on auto-tune: he’s careful to not name names, but really, you know who you are (i.e. any rapper who’s tried to actually sing one of his auto-tuned songs live and have it turn out like a half-rapped, half-shouted mess). Ironically enough, Kanye is producing most of Blueprint 3, though he promises to keep the auto-tune far, far away (is that why Jay-Z didn’t call him out?). Whenever you pour on the hate though, you always get some back, especially if dissing you means instant publicity. Jay-Z’s gotten his share of criticism for “D.O.A.” already from younger rappers who think he’s getting too old for the game, but I have to give Jay the last word: “Get back to rap, you T-Pain’n too much.”

Bryan-Michael Cox

Getting his big break thanks to earlier connections with Jermaine Dupri and Beyoncé, B. Cox is one of those producers who regularly see their songs catch fire. Having cemented himself firmly in the hip-hop industry based on wildly successful partnerships with artists like Usher (“U Got It Bad,” “Burn,” “Confessions Pt I & II”) and Mary J. Blige (“Be Without You”), there is no shortage of work for this Miami-born, Houston-bred producer. He’s won Grammys for both producing and songwriting, and with new R&B artists such as Sterling Simms and Johnta Austin scrambling to get a piece of him (along with a shot at that hit single), Bryan-Michael Cox might just take over the spot of lead money-maker for So So Def.

The Neptunes

The Neptunes, aka. Pharrell and Chad Hugo, aka. two-thirds of N.E.R.D., is one heavyweight duo. Their productions are shoved tentatively under the hip-hop genre, but it’s definitely a different kind of hip-hop; there’s a little eccentric flavour that most other producers don’t embrace as fully and satisfyingly as the Neptunes. It might be the synths, it might be their funk, or it might be Pharrell’s falsetto, but really, who cares? The Neptunes pretty much made Justin Timberlake when he broke off from NSync, and their reputation for offering something more than your typical gangsta rap has earned them love from Jay-Z, Common, and even Madonna. The coolest Star Trek geeks around? Oh yeah.

Stargate

Possibly the biggest production duo outside of North America, Stargate hails from Norway, and has been churning out hits in Europe since way before Ne-Yo. Originally working almost exclusively within the pop genre, Mikkel Eriksen and Tor Erik Hermansen made massive headway into the States’s R&B market after “So Sick.” While they’ve received some criticism for allegedly reusing material, it doesn’t seem to be a problem, as a Stargate track seems to be a guaranteed hit either way. Just ask Rihanna, Beyoncé, Ne-Yo, and Lionel Richie (who got his first number one in ten years thanks to Stargate). It would be interesting to see if this team decides to break into hip-hop, a genre that might be more resistant to their Euro-pop sound, but seeing as how they’ve already worked with rappers like Flo Rida and Nas and have a joint record label with Jay-Z, they might just have a chance at taking over all of urban music.

Kanye West

Who knew? The Louis Vuitton Don may talk annoyingly big sometimes (okay, all the time), but thankfully, he has shown that he can back it up. Using samples that span an impressive range of genres and time periods in the history of music, Kanye’s flair for the eclectic is almost comparable to the Neptunes, except Pharrell and Co.’s sound is much more defined and recognizable. His favourite collaborators include Talib Kweli, Nas, Jay-Z (he’s producing almost all of the soon-to-be-released Blueprint 3), and of course, himself. Ego problems aside though, Kanye West has a knack for knowing not only what people like to hear, but more importantly (judging from his timely collab with Jay-Z, “Death of Autotune”), when they get tired of it.

Timbaland

Undisputed hip-hop royalty, Timothy Mosley, or as you know him, Timbaland, rose through the ranks of hip-hop together with Missy Elliott, Ginuwine, and the late Aaliyah in the nineties. It’s safe to say that everyone who’s anyone – or wants to be anyone – has worked with Timbo; his efficiency with the beats and willingness to experiment with new sounds has not only helped hip-hop evolve, but also completely changed the pop genre, luring it effortlessly into the R&B/hip-hop sound. He’s ventured into uncharted territory with M.I.A., Duran Duran, and Bjork, but has always returned home to hip-hop, where his roots are firmly established. Apart from artists who are “heavyweights” in their own right (like Jay-Z, Missy, Beyoncé, and Luda), you’re more likely to hear the DJ introduce a Mosley Music collaboration as a “Timbaland track” rather than an <insert artist name here> track. While it is slightly disappointing that Timbaland is expanding his list of references all the way out to bubblegum-pop land (the Jonas Brothers? really?), there is no doubt that his touch is literally gold.

The Hangover’s Zach Galifianakis performing to Kanye West “Can’t Tell Me Nothing”

Kanye West: “Can’t Tell Me Nothing” alternative video featuring. Will Oldham (Bonnie “Prince” Billie)and Zach Galifianakis (comedian)

Preorder on Amazon!

True to the Game, Volume 1
Tracklist

1. Knock It Out Da’ Park – Yung Joc
2. Flyaway – Raiyn and Talib Kweli
3. Beam Me Up – Tay Dizm, T-Pain and Rick Ross
4. Still Hurts – Macy Gray and Marsha Ambrosius
5. The Big Screen – G.L.C. (Gangsta L. Crisis) and Kanye West
6. These Past Days – Sam Chris and Big Boi of OutKast
7. Pretty Girl – Jarvis and Ludacris
8. Make Your Way To The Dance Floor – Ziggy Nina and Chingy
9. Sweetest Taboo – Mikkey Halsted and Klass
10. If I Told U – Porta Prince and Ray J
11. The Bigg League – The Hustle Boyz and Snoop Dogg
12. Ghetto Love – Mario
13. Don’t Know How 2 Act – DJ Pharris, Shawna, Paul Wall and Lil Scrappy
14. I Don’t Wanna – Brandon Hines

About Stadium
Stadium is unique from other emerging independent record and consumer entertainment companies, with the majority of Stadium’s releases providing a revenue stream that will raise funds for a select list of grassroots and philanthropic organizations. With this mission and its focus on philanthropy, Stadium will generate projects featuring award-winning, gold and platinum recording artists, many of whom are on the forefront of today’s musical landscape.

The first release, TRUE TO THE GAME, Volume 1, will benefit the Negro Leagues Baseball Museum (NLBM).

Official Album Cover

A Collection of Track Masters
TRUE TO THE GAME – March 24
Stadium Entertainment

***

Atlanta based producer Drumma Boy merges his unique musical influences ranging from German composer Beethoven to Academy Award winning Three 6 Mafia, combining classical chords with urban street sounds to create an ingenuity worthy enough of receiving a nomination for “Producer of the Year” at the upcoming Ozone Awards 2008. The ceremony will take place on August 11th at the George R. Brown Convention Center in downtown Houston Texas and will be hosted by comedian DeRay Davis best known from MTV’s Wild n’ Out. Other nominees include an array of the South Eastern region’s hottest talent Lil Wayne, Rick Ross, T.I., Young Jeezy, Andre 3000, Soulja Boy, UGK, Bun B., T-Pain, DJ Khaled, Usher, Scarface, Plies, Gorilla Zoe, Trick Daddy, David Banner, Three 6 Mafia and Jermaine Dupri as well as multi-platinum artists Kanye West, Ne-Yo, Keyshia Cole, Chris Brown, Lupe Fiasco, Akon, Snoop Dogg and The Game.

The Memphis born Christopher Gholson who goes by the pseudonym Drumma Boy has been the beat maker and production catalyst behind tracks for many of the upcoming Ozone nominees including T.I., Young Jeezy, Rick Ross, Yo Gotti, Plies, Gorilla Zoe, Kanye West, David Banner, DJ Drama, Gucci Mane and Trey Songz. In the September 2007 issue of Ozone Magazine editors stated, “You can call 2007 a breakout year for producer Drumma Boy. Now that he tastes the sweet victory of mainstream success, this hit-maker from Memphis finds himself one of the game’s most sought after producers.”

The 24-year old rhythm architect and founder of Drum Squad Productions had a destiny solidified as a young child with a mother who was a well known opera singer and a father who was a professional clarinetist and music professor at the University of Memphis, the first African-American man to hold the 1st chair position in the Memphis Symphony Orchestra. “My dad taught me everything I know about traditional music and had me playing the clarinet at age 5 but it was my mom that introduced me to Curtis Mayfield and 70’s oldie, so my style now is a reflection of all of that, classical, soul and street music.”

Given his moniker by a close friend for his unique drum patterns he followed in the footsteps of Memphis native Jazze Pha (Ciara, Nelly, Ludacris) and relocated to Atlanta in 2004. Now the highly sought after producer skillfully adds crispy, hard-hitting 808 bass lines with gentle touches of rhythmic change and chord progression to each beat he crafts and gives them to some of today’s hottest artists. He composes thick and textured sounds that take some producers years to perfect. It takes a special kind of artist to rock with him, which explains his impressive roster of hip hop acts that include Young Jeezy, T.I., Kanye West, Nelly, Ludacris, Scarface, Yo Gotti, Eightball & MJG, Young Joc, Slim Thug, Rick Ross, E-40, Rocko, Paul Wall and Lil’ Jon. Drumma Boy is fresh, as in innovative and expressive but more importantly, he’s admirably great at pushing boundaries; taking the art form into new realms of abstraction.

Currently labeled as one of the “hottest new producers” in the August 2008 issue of Vibe Magazine, Drumma Boy is enjoying credit for new singles including Jeezy’s “Put On” f/ Kanye West which has proven to be one of the summer’s hottest anthems while other recent tracks include “Juice Box” from Gorilla Zoe (Atlantic Records), “Tomorrow” from Rocko (So So Def/Island Records) and “Here I Am” from Rick Ross f/ Nelly (Def Jam Records). This Fall 2008 Drumma will be known as the man responsible for several songs off T.I.’s highly anticipated Paper Trail (Grand Hustle/Atlantic) including the single “What’s Up What’s Happening” as well as three additional tracks from Def Jam and multi-platinum recording artist Jeezy’s The Recession. With a gift to manufacture inimitable sounds the young virtuoso has been recruited into the studio this month with a wide range of artists including Monica, Brandy, Keyshia Cole, Mary J. Blige, Akon, Raheem Devaughn, Goapele, Slim Thug, Rick Ross, Rich Boy, Keri Hilson, Plies, Goapele, Dionne Farris and Jagged Edge.

His musicianship is incredible, having the ability to pour passion and conviction into whatever he does. His combination of multi-talent is one of many factors that separate him from the mainstream. His soul is soaked in the eccentricity of vintage Rhythm and Blues and P-Funk. He plays with this dichotomy of yesteryear classics and current trends to concoct sophisticated arrangements that fuse the arrogance of hip-hop with the slickness of R&B. The talented musician has not only fostered relationships with top notch artists such as Outkast, Trick Daddy, Cash Money, Pastor Troy and Killer Mike, but he also understands the importance of connecting with equally gifted writers, instrumentalists and producers like Johnta Austin and Jazze Pha.

Drumma Boy is famous for making diverse beats that range from rap, rock, classical and pop to soulful R&B ballads and gospel-inspired jams. He is as authentic as a creative artist can be, reading music with an educated ear while possessing the ability to instantly recognize the correct key. In addition to a learned knowledge, there is that burning desire he inherently possesses to win and maintain respect.

“Drumma Boy has a signature sound that can make an average artist sound great…truly he has grown into a “real producer” while some just “make beats” he has taken his sounds from the Hood 2 the Executive Suites and that’s the Bizniss” Jazze Pha

“Drumma Boy is up next!” T.I.

“Drumma Boy is the correct spelling for producer” Young Joc

“Because producers like Drumma Boy are making some serious noise. The album’s first single, “Put On,” Featuring Kanye West produced by Drumma Boy – a throbbing, chest-pounding anthem – does what Jeezy’s best songs always do; It furthers his legend with it’s might.” Vibe Magazine

“It’s clear Drumma has risen quickly to distinguish himself among the upper echelon of hip hop producers. His distinction lays with his classically trained ear along with his signature drum rolls and staggering 808’s.” The Source Magazine

“Despite the instrument reference in his name, Drumma Boy actually played the clarinet coming up. Classically trained by his father, the Memphis native upgraded from a woodwind to a Roland XP-50 at the age of 14. Drumma is making even more noise and looking forward to adding his Midas touch to upcoming projects from Jeezy and T.I. Watch him do his thang.” XXL Magazine

“When you hear one of Drumma Boy’s beats, you don’t just listen. You feel the 808 street bass, symphonic influences, horns and stirring string section. Hard knocking tracks like Young Jeezy’s “I Am the Realist” and “Standing Ovation” and Gangsta Boo’s stammering “Stacks on Deck’ and “Queen of the South” are prime examples of Drumma Boy’s limitless musical originality. Drumma’s present and future are as bright as the sun.” Grip Magazine

“With a penchant for chest-beating percussion and attitude-drenched synths, Drumma and his Drum Squad production unit have built a hefty catalog, including Scarface’s “Recognize,” Boyz N Da Hood’s “Trap Niggaz,” Paul Wall’s “Gimmie Dat,” and most recently, Plies & T-Pain’s “Shawty.” But it was really his work on Jeezy’s first album, “Thug Motivation 101”, that got the industry’s attention.” Scratch Magazine

“Atlanta producer Drumma Boy got his start as a producer and beat writer in his early teens. His mother and father both worked in music and gave him a solid grounding in the fundamentals. A few years go he made the move from Memphis to Atlanta where he began to network with the likes of Outkast and Trick Daddy.” Music Connection Magazine

“”Put On” is the first single from the forthcoming Jeezy album, and it’s a Jeezy track through and through up until the end with epically gothic Drumma Boy synth-twinkles.” Village Voice

“Drumma Boy is an exceptional young talent. Rarely is one able to identify producers who are not only able to create a unique sound with Hip Hop, but R&B as well. Drumma represents the grind. He represents the now. He represents…the future!” Johnta Austin

“Drumma Boy has his ear to the street because his sound is just that!! A very versatile producer and business man, he is hip hop’s “go to” man for a gritty visualistic sound. A producer can only dream of a resume like his.” DJ Drama

“Drumma Boy is one of the most driven producers out of Atlanta, with uniquely different beats.” LeToya Luckett