Lil Wayne can sleep good knowing his legal woes are over, at least for now. TMZ reports the Young Money CEO has settled a $20 million lawsuit with producer Darius “Deezle” Harrison, who claims that he has not been paid for production work he did on Wayne’s smash Tha Carter III album, including “Lollipop.” Per Harrison, the album to date has grossed over $70 million, and he believes he’s rightfully owed $20 million. Harrison and the rapper/CEO reached a confidential agreement and the case has since been dismissed.
This isn’t the first time the rapper has found himself in a whirlwind of lawsuits. In July 2008, Wayne was sued by Abkco Music Inc. for copyright infringement and unfair competition over “Playing With Fire,” which was a version of The Rolling Stones’ “Play With Fire”. The song was eventually removed from the album and all online music stores. Then in February of 2009, Hip Hop DX reported RMF Productions filed a lawsuit for $1.3 million accusing Weezy of cancelling three shows. And get this. While in prison, Wayne was sued by “A Milli” producer Bangladesh for over a half of million in unpaid royalties, according to The Guardian. What is going on in the world of Young Money, anyway? Does this come with the territory of being rich, or does someone need more accountants? Perhaps a name change to Unpaid Money would be a better fit. (We kid, we kid.)
The Civil Wars made history with their Unplugged show, as singer Joy Williams became the first artist in the 22-year history of the program to perform while pregnant. Of course, this reminded us of when M.I.A. sang on The Grammys back in 2009 while she was 9 months pregnant. So, naturally, we asked Joy (who is due in June) about it.
“Dude! M.I.A. on the Grammys was so amazing with that bullseye awesomeness and spandex!,” she explained (video below). “Well, I was going to wear that, but she totally bogarted the awesome spandex idea.”
“So I’m going to,” John Paul White jumped in. “A strategic bullseye.”
Well, dear readers, we can all be thankful that didn’t happen.
No one likes Monday mornings. From Bob Geldof and his Boomtown Rats to Susannah Hoffs and her Bangles, more than a few musicians have made fortunes off of songs written about the universally acknowledged worst day of the week. Last night’s episode of The Simpsons began with Bart Simpson‘s alarm clock going off at 7 a.m., leading him to sigh and say “Ehhhh Monday, here we go again.”
What happened next, though, was an incredible example of how visuals and music can come together to make magic. Set to the strains of Hot Chip‘s wistful “And I Was A Boy From School,” off their 2006 LP The Warning (and the #29 song of the last decade according to Pitchfork), Bart is shown going through the motions of yet another in a seemingly endless (and endlessly repetitive) week at school, soaked in a melancholic haze: The ritualistic humiliation he’s forced to endure includes moments of him getting bullied by Nelson, getting spilled on by Milhouse, and getting bored on the bus. Of course, things would soon go on to change for him in the episode entitled “A Supposedly Fun Thing Bart Will Never Do Again” (h/t to David Foster Wallace, natch), but the 66 seconds that this scene takes to play out are 66 of the best seconds that we’ve seen on television so far this year.
Nas makes New York City proud in his latest video, “The Don,” from his 10th studio album, Life is Good, scheduled for release July 17. Directed by Aristotle, the video to his second single has a familiar feel of a time when NY’s hip-hop was leading the game. On his grown man tip, Nas toasts to the good life with friend Steve Stoute. And how does Nas demonstrate that he’s worth of such a title? Why, of course, tailored suits, antique luxury cars, classic nugget gold rings, champagne and cigars. Executed like a true don.
Although Nas is a boss in “The Don,” he didn’t hide from the troubles he’s had as a father of a teenage daughter. His third single, “Daughters,” is a heartfelt track about the realities of fatherhood, but not everyone is celebrating Nas’ new music. Carmen Bryan, the mother of Nas’ daughter Destiny (and the author of the tell book It’s No Secret: From Nas to Jay-Z, from Seduction to Scandal–a Hip-Hop Helen of Troy Tells All) took to Twitter to express her annoyance with the song, which she says did not depict their daughter in a good light. After the song was released on Thursday, she tweeted: “Just heard ‘Daughters’ by Nas. What a disappointment! He had nothing positive to say about our daughter and his depiction of her is false.”
As The Civil Wars joked during the taping of their VH1 Unplugged set a few weeks back, they’re a duo that already performs “unplugged” most of the time, generally using an acoustic guitar or piano to deliver their songs. Knowing that, you wouldn’t necessarily think that the duo would gravitate towards performing a cover of a 1993 trip-hop classic, but once you hear their take on “Sour Times” (as originally performed by Portishead), you immediately understand how this fits into the band’s repetoire of seemingly offbeat covers.
“We’re lovers of all kinds of different music,” Joy Williams told us when we sat down with her before the show taped a few weeks back. “If we’re able to pick something out of the lexicon where we both go, ‘You listened to that, too?’, it’s really fun for us to say ‘Ok, what can we do with it as a duo?’ The lyrics themselves, to Portishead, I sat down to read them and they’re so mysterious. I still don’t even quite know what we’re actually singing about, but I’m kind of into it. It’s such a moody song!” (VIDEO BELOW.)
Even with the likes of Kim Kardashian and Lindsay Lohan in attendance at this year’s White House Correspondent’s Dinner, it was Young Jeezy, aka the Snowman, that President Obama shouted out during his pre-written comedic speech. Videos of President Obama’s smooth voice carrying the tune of Al Green’s “Let’s Stay Together” spread like wildfire on the Internet back in January, but over the weekend, the President proved again that he is in touch with today’s hip-hop community. “In my first term I sang Al Green,” the president said in the below clip from CBS News. “In my second term, I’m going with Young Jeezy.”
We’re not sure everyone in the audience caught the reference. But of course, in the ultimate cool moment of all time, Mr. President’s wife knew exactly what her husband meant. President Obama mentioned that “Michelle said, ‘Yeah’ when he joked about singing Jeezy in his second term. “I sing that to her sometimes,” he added. Are they not the cutest couple ever?
Jeezy responded on Twitter after getting word of the President’s nod:
This week on That Metal Show, we were joined by Lemmy (Motörhead), Jerry Dixon and Robert Mason (Warrant), and Michael Schenker, who rocked out as our guest musician for the second week in a row. For our TMS Top 5 segment we decided to have the hosts come up with the Top 5 Albums of this century. There aren’t THAT many bands out there, so it shouldn’t be so hard, right? Let’s get started.
How do you choose from Tesla’s album; Into the Now (with the original band, mind you), Buckcherry’s comeback record; 15, Accept’s; Blood of The Nations, which ended up on both Eddie and Don’s list, it’s a tough choice. You also have the underrated band like Hatebreed, who released Perseverance back in 2002 and The Blackening by Machine Head who is Jim’s “modern day Master of Puppets” (Metallica). Which, of course, is debatable. So, what ended up on the list? We’ve got it for you below.
From eight MCs to one. By popular vote, KRS-One is the greatest emcee of the Yo! MTV Raps era. Of the eight lyricists selected for Bracket Madness, it all boiled down to two greats in the end: KRS-One vs. Rakim. Both legends in their own right, KRS-One takes the crown as being the No. 1 dude from the golden era of hip-hop. In a close call, KRS-One was victorious over his opponent by 20%. Here’s our theory as to why KRS-One won.
Rakim’s influence on cats like Biggie, Nas and Jay-Z is undeniable. And while Rakim mastered the art form of rap, popularizing the hustle element of East Coast rap, Rakim never blew up on a mainstream scale. He remained fairly under the radar, which affects ones popularity. KRS-One, bred of the same time period as Rakim, with just as much influence, had more of a presence. He reached a larger audience with his group Boogie Down Productions and battle raps with rappers like MC Shan and Roxanne Shante. His rhymes were also more controversial. Any song like “Sound of Da Police” in which a rapper takes shots at the 5-o is guaranteed to bring attention your way (and a group of admirers). KRS-One introduced reggae, bridging rap, battle and boasting into the genre. There’s no denying the ways in which he rapped ended up helping to shape what hip-hop is today. When two dope MCs with the stature of KRS-One and Rakim go toe-to-toe for a title, there is no real loser because this is hip-hop at its finest. But only one can wear the crown. Well deserved, KRS-One!
The profile of The Civil Wars has been raised considerably over the course of the last year. In fact, it was one year ago when the band was named our You Oughta Know artist and performed an intimate set here in our lobby on the 20th floor of VH1 headquarters here in New York City. Since that fateful day, the band has exploded in popularity, taking home two Grammys and recording not one but TWO songs for the wildly popular soundtrack to The Hunger Games. Their full VH1 Unplugged set (brought to you by State Farm) will premiere here on VH1 Tuner tomorrow, but until then, we have this sneak peak of their song from said soundtrack, “Kingdom Come,” for you above.
When we attended the taping, we asked them about the refrain of the song, which goes “Don’t you fret, my dear / It’ll all be over soon / I’ll be waiting here for you.” Clearly, this line can be read a couple of different ways, from the very optimistic to the, well, sorta haunting. What was it that inspired this particular line?
“The first thing that came to mind was this overwhelming sense of ‘survival mode,’” John Paul White explained to us. “We knew that we wanted that to be the overlying theme of what we did. We didn’t want to be completely specific as to who we’re singing about, or who is singing to whom. And that’s the way we went about it.” (Video of this moment below.)
Over the last year and change, we’ve been all too happy to see Lil’ Kim doing interviews again and making new music. And the new club banger “Countin’ Money”, off the I.R.S. South mixtape Tax Season, doesn’t disappoint. It’s reminiscent of the hardcore flow she killed the game with in the 90s. She’s back to street lyrics, and the Queen Bee wants you to know she’s the “realest b—- up in the industry.” She’s coming for blood.
Lil’ Kim’s Paypal released mixtape Black Friday (we’ll act like that never happened) was not the smash hit we were hoping for. But with her BET Rip the Runway performance, forthcoming documentary and Return of the Queen tour beginning May 11, Kim seems to be back on the fast track to making hits (it also doesn’t hurt that her long simmering beef with Nicki Minaj is helping her in the headline department). “Countin’ Money” resembles the NOTORIOUS K.I.M. sound her fans love. Raw, real and hungry. Very befitting of a Queen in hip-hop.