Jagged Edge Tour Dates
Lets keep it 100
The state of R&B is in really bad shape,most of all the mainstream outlets are now ran by younger people who know very little about true R&B, and don’t really care,this is forcing artist to stop doing what they love,stop writing great songs,stop singing and wanting to be rappers,or at least do rapper like things,
When I post about new music,most of the comments I get are,jd bring back that good shit,instead of all this BS on the radio,
With that being said,All of you that feel this way,all of you that love great music,I ain’t to proud to beg lol,I’m begging you, pls pick up this new JE album,and help us restore the feeling, 10/27
Action Bronson stopped by Sway In The Morning for an interview. Action Bronson talked about losing weight, getting into Twitter conflicts, mixing concrete as a past job, being influenced by Turkey and Africa, working with 40 in the studio and sampling.
NFL has partnered with the biggest video website in the world, Youtube, to broadcast more content on an official channel on a multi-year, multi-million dollar deal. First of all, it means search results will make it easier to find the content entered, giving better previews and even show YouTube videos for highlights. The only down side is it will not be available for past content, only content from here on out.
Rich Homie Quan give the green light and drops his latst record called Have You Ever produced by Kc Da Beatmonster.
lthough racist state violence has been a consistent theme in the history of people of African descent in North America, it has become especially noteworthy during the administration of the first African-American president, whose very election was widely interpreted as heralding the advent of a new, postracial era.
The sheer persistence of police killings of black youth contradicts the assumption that these are isolated aberrations. Trayvon Martin in Florida and Michael Brownin Ferguson, Missouri, are only the most widely known of the countless numbers of black people killed by police or vigilantes during the Obama administration. And they, in turn, represent an unbroken stream of racist violence, both official and extra-legal, from slave patrols and the Ku Klux Klan, to contemporary profiling practices and present-day vigilantes.
More than three decades ago Assata Shakur was granted political asylum by Cuba, where she has since lived, studied and worked as a productive member of society. Assata was falsely charged on numerous occasions in the United States during the early 1970s and vilified by the media. It represented her in sexist terms as “the mother hen” of the Black Liberation Army, which in turn was portrayed as a group with insatiably violent proclivities. Placed on the FBI’s Ten Most Wanted list, she was charged with armed robbery, bank robbery, kidnap, murder, and attempted murder of a policeman. Although she faced 10 separate legal proceedings, and had already been pronounced guilty by the media, all except one of these trials – the case resulting from her capture – concluded in acquittal, hung jury, or dismissal. Under highly questionable circumstances, she was finally convicted of being an accomplice to the murder of a New Jersey state trooper.
Four decades after the original campaign against her, the FBI decided to demonise her once more. Last year, on the 40th anniversary of the New Jersey turnpike shoot-out during which state trooper Werner Foerster was killed, Assata was ceremoniously added to the FBI’s Ten Most Wanted Terrorist list. To many, this move by the FBI was bizarre and incomprehensible, leading to the obvious question: what interest would the FBI have in designating a 66-year-old black woman, who has lived quietly in Cuba for the last three and a half decades, as one of the most dangerous terrorists in the world – sharing space on the list with individuals whose alleged actions have provoked military assaults on Iraq, Afghanistan and Syria?
A partial – perhaps even determining – answer to this question may be discovered in the broadening of the reach of the definition of “terror”, spatially as well as temporally. Following the apartheid South African government’s designation of Nelson Mandela and the African National Congress as “terrorists”, the term was abundantly applied to US black liberation activists during the late 1960s and early 70s.
President Nixon’s law and order rhetoric entailed the labelling of groups such as the Black Panther party as terrorist, and I myself was similarly identified. But it was not until George W Bush proclaimed a global war on terror in the aftermath of 11 September 2001 that terrorists came to represent the universal enemy of western “democracy”. To retroactively implicate Assata Shakur in a putative contemporary terrorist conspiracy is also to bring those who have inherited her legacy, and who identify with continued struggles against racism and capitalism, under the canopy of “terrorist violence”. Moreover, the historical anti-communism directed at Cuba, where Assata lives, has been dangerously articulated with anti-terrorism. The case of the Cuban 5 is a prime example of this.
This use of the war on terror as a broad designation of the project of 21st-century western democracy has served as a justification of anti-Muslim racism; it has further legitimised the Israeli occupation of Palestine; it has redefined the repression of immigrants; and has indirectly led to the militarisation of local police departments throughout the country. Police departments – including on college and university campuses – have acquired military surplus from the wars in Iraq and Afghanistan through the Department of Defense Excess Property Program. Thus, in response to the recent police killing of Michael Brown, demonstrators challenging racist police violence were confronted by police officers dressed in camouflage uniforms, armed with military weapons, and driving armoured vehicles.
The global response to the police killing of a black teenager in a small midwestern town suggests a growing consciousness regarding the persistence of US racism at a time when it is supposed to be on the decline. Assata’s legacy represents a mandate to broaden and deepen anti-racist struggles. In her autobiography published this year, evoking the black radical tradition of struggle, she asks us to “Carry it on. / Pass it down to the children. /Pass it down. Carry it on … / To Freedom!”
Yung Jake is a man of many trades. The pseudonymous rapper, new media artist, and CalArts alum first made waves in 2013 with an interactive HTML5 video that was featured at Sundance. In 2014, he had his first solo show at Steve Turner Contemporary in Los Angeles (see Meet Yung Jake Rapper and New Media Art Sensation). Now, he has created what was probably inevitable: celebrity portraits composed of emojis.
The Creators Project reports that Jake uses an emoji paintbrush tool called emoji.ink (don’t worry, we didn’t know that existed either) to craft the portraits, which so far include Larry David, Wiz Khalifa, Chief Keef, and yes, Kim Kardashian. #BreakTheInternet, indeed.
On his Twitter page, Jake is posting the works and asking followers who he should emojify next. We nominate Miley Cyrus because she’s colorful and it will give him a chance to employ some of the lesser-used fruits, candies, and animals. We’d also happily settle for Lady Gaga as well.
Follow @caitmunro on Twitter.
“Be careful the environment you choose for it will shape you; be careful the friends you choose for you will become like them.”
-W. Clement Stone