Watch the video first. She gets sick. The download is also dope it’s just her vocals aren’t really mixed.
TRACK LIST
1. Carter III Is Coming (Grand Closing)
2. I
3. Walk It Off
4. Open Shop
5. Done It
6. Introducing Milli
7. Milli
8. Damn I’m Cold feat. Bun B
9. I’m A Dog Ya (Freestyle)
10. Stunt When I See You
11. We Hustle
12. I Got My
13. Lick The Rapper
14. Certified
15. Girls All Around
16. Single Again
17. Drought Is Finally Over
BONUS TRACKS
18. Too Clean feat. Lil’ Chuckie
19. Nike Boots feat. Wale (Official Remix)
My homey Brandon hit me yesterday afternoon telling me Kanye and Common were gonna be at Area. I was like “sure.” After Cameron and I had dinner at Foxtail (SBE’s new spot, French bistro style menu, Steak Frites are bomb), I hit up Plain Pat (whattup Cudi) and was like “yo, can you find out if Kanye is really performing at Area tonight cuz I am not trying to go there unless it’s true.” He hit me back like “something’s going on cuz I had to send performance tracks to DJ Reflex.” Cameron and I said “fuck it” and we rolled since it was right down the street. It was madness outside, luckily my homey Julius from Bolthouse was working the door and he quickly let us in. Ran into Don C. so I knew Ye was in the building. He told me he was gonna perform and that I should stick around. Ran into the dudes from Far East Movement, DJ Skee, this girl Olivia who I hadn’t seen since middle school, Jason from Alliance Talent, Tick and Jamie from Warners, DJ Splyce and some other people I know I’m forgetting. At like 1:10 Common came outta nowhere and did two songs. Then Kanye came out to “Flashing Lights” and did “Stronger”, “Good Life” and “Can’t Tell Me Nothing.” Shit was off the meat hook.
Sometimes I hate living in LA. But nights like this make me so happy.
I can’t help but think they didn’t listen to 100 MILES AND RUNNING, seeing they are from Maryland.
According to URB.com:
There’s another footwear line on the scene and it’s gonna be huge. So serious. 100 Styles and Running manages to combine comfort and quality using concepts/processes you won’t see with other lines, all without sacrificing an ounce of style.
This afternoon, I had the pleasure of meeting Ric Salazar aka Erth1 (helpin represent the line) and Evan Birenbaum (one of the founders). Aside from the fact that they’re incredibly down to earth and chill, the shoes were niccce (yes, totally worthy of the extra letters). Style+Quality is possible people, check it:
- Premium Washable/Treated Nubuck Leather (Yes, you can throw them in the washer and dryer if needed)
- Cutting-Edge Premium Waterproof Suede (Wear in the rain and watch the water bead off)
- Premium Full Grain Leathers and Materials (No short-cuts here)
- Pig Leather Lining, Custom Molded Sock Liner w/ “PRS – Pod Reaction System” Technology for added comfort (Comfort is priority)
- Laser Logo Detail on sockliner and tongue (Details, Details.)
- High Abrasion Rubber Cup Sole w/ Herringbone Tread (Extremely Durable)
- Wax Laces (For added protection)
- Classics styles and colors (For the office or club, gallery or shopping)
The line currently offers three styles for Spring/Summer08: The Abbot, The Colston and The Dylon- all versatile to fit your lifestyle, whatever it may be. You can find 100 Styles and Running at boutiques such as Bodega, Ubiq, American Rag, PHLI, True, Sportie LA, and American Rag.
For more info: http://www.100styles.com/
For more info visit ComeUpKids.com
According to NahRight.com:
The Roots have decided to axe their initial first single from Rising Down.
From Okayplayer:
We told you a few weeks ago that “Birthday Girl” could easily get dropped off of Rising Down. We received word over the weekend that the song is now the International Single and will be an iTunes exclusive. It will not appear on the North American release.
That’s pretty interesting. I understand the new single might be Rising Up which features two verses from Black Thought, one from Wale and a Chrisette Michele hook.
Read it here
Track Listing
1. 45 King vs. Wale – Roof 90 bpm
2. 45 King vs. Wale – Roof (DJ Ayres Remix) 111 bpm
3. 45 King vs. Wale – Strings 100 bpm
4. 45 King vs. Wale – Strings (In Flagranti Remix)-126 bpm
5. 45 King vs. Pase Rock –The 900 Number (2k8) 107-bpm
6. 45 King vs. Pase Rock – The 900 Number (2k8) (Eli Escobar Remix)-123 bpm
7. 45 King vs. 4th Pyramid – P-Y-R-A-M-I-D 115 bpm
8. 45 King vs. 4th Pyramid – P-Y-R-A-M-I-D (Sammy Bananas Remix) 123 bpm
Crafty veteran meets brash newcomer. It’s a timeless cinematic formula, but SCION AV has done it a little differently this time. 45 King, producer of “Hard Knock Life,” “Stan” and dozen other hip hop classics, plays the role of the old-school champ, dropping four jewels from his bottomless stash of beats. The youngsters are represented by man-of-the-moment Wale, crowd controller Pase Rock and 4th Pyramid, with In Flagranti, Eli Escobar, DJ Ayres and Sammy Bananas doing remix duty. Peep the plot:
DC native Wale, fresh off sessions with Ronson and Kanye, is a natural to bless a downtempo 45 King special. “Roof” lays a bossa guitar on a menacing bass and 90 BPM drums as Wale manages to fit both Manute Bol and Luc Longley into his sinuous street-level rap. The Rub’s DJ Ayres takes his 111 BPM remix of “Roof” straight to the party, disco style, with live bass, synth snares and plenty of cowbell.
“Strings” is really the only appropriate name for this cello-strewn 100 BPM beat, but don’t expect Beethoven. The trademark 45 King kick and snare are in effect, and Wale’s lovesick lyrics skate the rails and ledges effortlessly. The boys of In Flagranti aren’t having any of this love business, though. They like it dirty. At a blistering 126 BPM, their “Strings” remix spits metal guitar and hi-hat shreds over a sawtooth bass line.
Def Jux survivor and T-Dot repper 4th Pyramid takes a track that Grand Puba would’ve loved and turns it out on “P-Y-R-A-M-I-D.” 45 King’s horn-filled bouncy 115 BPM groove is a throwback, but it seems like Sammy Bananas didn’t get the memo. His “P-Y-R-A-M-I-D” remix slams the tempo to 123 BPM and burps rude bass and bits of pitched vocals for a thoroughly 2008 vibe.
You can put down the dictionary, the definition of “anthem” is 45 King’s “900 Number.” The ageless roof-raiser that cleared DJ Kool’s throat gets twin 2k8 reworks, with Pase Rock showing the party people how it’s done on the mic over the original 107 BPM beat (try to follow his head-spinning song references) and NYC veterano Eli Escobar coming with a jacking 123 BPM remix that slices the signature sax line over a crunchy electro bass.
Give Us Feed Back at www.preemtiv.com
From:
Date: Wed, 19 Mar 2008 15:15:32
To:
Subject: RE: Tropicana Pure Valencia Orange , REF.# 026413892A
RE: Tropicana Pure Valencia Orange , REF.# 026413892A
Daniel:
We’re delighted to know how much you enjoyed Tropicana Pure Valencia Orange Juice. We work hard to produce delicious premium juices and we’re glad you can taste it!
We also appreciate your interest in having Tropicana sponsor hip-hop artist Wale. We have forwarded your email to marketing and someone will cotnact you directly if there is an interest.
Thank you for your business, Daniel, and for sharing your terrific feedback with us.
Theresa
Tropicana Consumer Response
By BILLY BRAGG
Published: March 22, 2008
Dorset, England
LAST week at South by Southwest, the rock music conference held every year in Austin, Tex., the talk in hotel lobbies, coffeeshops and the convention center was dominated by one issue: how do musicians make a living in the age of the Internet? It’s a problem our industry has struggled with in the wake of the rising popularity of sharing mp3 music files.
Our discussions were brought into sharp relief when news reached Austin of the sale of Bebo.com to AOL for a staggering $850 million. Bebo is a social-networking site whose membership has risen to 40 million in just two years. In Britain, it ranks with MySpace and Facebook in popularity, although its users tend to come from a younger age group.
Estimates suggested that the founder, Michael Birch (along with his wife and co-founder, Xochi), walked away with $600 million for his 70 percent stake in the company.
I heard the news with a particular piquancy, as Mr. Birch has cited me as an influence in Bebo’s attitude toward artists. He got in touch two years ago after I took MySpace to task over its proprietary rights clause. I was concerned that the site was harvesting residual rights from original songs posted there by unsigned musicians. As a result of my complaints, MySpace changed its terms and conditions to state clearly that all rights to material appearing on the site remain with the originator.
A few weeks later, Mr. Birch came to see me at my home. He was hoping to expand his business by hosting music and wanted my advice on how to construct an artist-centered environment where musicians could post original songs without fear of losing control over their work. Following our talks, Mr. Birch told the press that he wanted Bebo to be a site that worked for artists and held their interests first and foremost.
In our discussions, we largely ignored the elephant in the room: the issue of whether he ought to consider paying some kind of royalties to the artists. After all, wasn’t he using their music to draw members — and advertising — to his business? Social-networking sites like Bebo argue that they have no money to distribute — their value is their membership. Well, last week Michael Birch realized the value of his membership. I’m sure he’ll be rewarding those technicians and accountants who helped him achieve this success. Perhaps he should also consider the contribution of his artists.
The musicians who posted their work on Bebo.com are no different from investors in a start-up enterprise. Their investment is the content provided for free while the site has no liquid assets. Now that the business has reaped huge benefits, surely they deserve a dividend.
What’s at stake here is more than just the morality of the market. The huge social networking sites that seek to use music as free content are as much to blame for the malaise currently affecting the industry as the music lover who downloads songs for free. Both the corporations and the kids, it seems, want the use of our music without having to pay for it.
The claim that sites such as MySpace and Bebo are doing us a favor by promoting our work is disingenuous. Radio stations also promote our work, but they pay us a royalty that recognizes our contribution to their business. Why should that not apply to the Internet, too?
Technology is advancing far too quickly for the old safeguards of intellectual property rights to keep up, and while we wait for the technical fixes to emerge, those of us who want to explore the opportunities the Internet offers need to establish a set of ground rules that give us the power to decide how our music is exploited and by whom.
We need to do this not for the established artists who already have lawyers, managers and careers, but for the fledgling songwriters and musicians posting original material onto the Web tonight. The first legal agreement that they enter into as artists will occur when they click to accept the terms and conditions of the site that will host their music. Worryingly, no one is looking out for them.
If young musicians are to have a chance of enjoying a fruitful career, then we need to establish the principle of artists’ rights throughout the Internet — and we need to do it now.
Billy Bragg is a songwriter and author.
Wanna know who’s got next after Wale? These guys right here. The new Dungeon Family with a hint of Swisher House and Cash Money thrown in for good measure. This mixtape is going to be BANANAS. Remixes from Diplo, Benzi, Flosstradamus, Krames, DJ Sega and original production from Paper Route. Shouts to Good Bully for the cover art.
Do yourself a favor and peep the streaming mix and then download it
