Author: JD
Mishon – Be Mine
SO LAST YEAR, I SPENT LIKE 5 MONTHS WORKING ON MISHON FOR COLUMBIA RECORDS AND SOMETHING HAPPENED WHERE THEY CHOSE TO NOT RELEASE HIM,ITS FUCKED UP BECAUSE WE MADE ALOTTA GREAT R&B RECORDS THAT Y’ALL NOT EVEN GONNA GET TO HEAR, AT LEAST NOT THE WAY THEY SHOULD BE HERD,YOU KNOW WHAT, FUCK THAT!!
Racists Attack Will Smith’s ‘Focus’ Over Film’s Depiction of An Interracial Relationship
The vile racists of the Internet are up in arms over the new movie Focus, which features stars Will Smith and Margot Robbie (sort of) knocking boots. Ugh. While the white (and gold) vs. black (and blue) debate over #TheDress continues to divide and alter life as we know it, another far more insidious color war is raging in America: Racists are outraged over the interracial coupling in the movie Focus between Will Smith, an African-American man, and his Australian co-star Margot Robbie, a white woman. The onetime Men in Black and Independence Day blockbuster king stars in the R-rated romantic caper as a charismatic con artist who welcomes Robbie’s femme fatale-in-training to his operation and falls for her—against his better judgment. It’s a rare sensual role for Smith, who gets steamy with Robbie in a few sex scenes that are actually conservatively shot and disappointingly brief. But boy does their onscreen love affair have racists’ panties in a bunch. “Anyone getting fed up with all this race mixing being shoved down our throats?” wrote YouTube user Shomanoman on a trailer page for Focus. “YUCK, Race-mixing Trash propaganda by Hollyjewed again,” declared Kriegen Gegen Das System, managing to squeeze in a shot at Tinseltown’s Jewish population while they were at it. Comments like these skyrocketed this month ahead of Focus’s theatrical release, sparking a wave of counter-commenters who jumped to defend Smith and interracial representation in movies. Contrary to Shomanoman’s claim, rampant “race mixing” is still conspicuously non-existent in Hollywood, where skin tones have to match if love or sex is in the cards for two characters. Just look to Smith’s own filmography: In his two decades as a bona fide leading man, he’s never before gotten down with a white woman onscreen. “How are you not going to consider Cameron Diaz? That becomes massive news in the US. Outside America, it’s no big deal. But in the US, it’s still a racial issue.” When he almost did in the 2005 romantic comedy Hitch opposite would-be co-star Cameron Diaz, she was recast. Eva Mendes got the gig, and Smith blamed Hollywood. “How are you not going to consider Cameron Diaz? That becomes massive news in the US. Outside America, it’s no big deal. But in the US, it’s still a racial issue,” Female First UK quoted him saying in 2005. “Ironically, Hollywood is happy to do it if the film is about racism. But they won’t simply do it and ignore it.” Even before he was a movie star, Smith addressed the flip side of interracial controversy on the second season of his TV sitcom The Fresh Prince Of Bel-Air. In the 1991 episode “Guess Who’s Coming To Marry?”, Will’s aunt Janice introduces the family to her fiancé, a white man, upsetting Will’s mother so much she refuses to attend the wedding. The family is taken aback but, for the sake of the children, have the decency to temper the way they discuss their initial prejudice (“She didn’t mention he was… tall…”): Despite that nod to Stanley Kramer’s 1967 landmark examination of interracial marriage in America, Smith didn’t have a single white girlfriend over the course of six seasons of Fresh Prince. When Focus was in its early stages it was to star Kristen Stewart before she bailed, citing the 20-year age difference between her and Smith. That didn’t stop media gossipers from speculating that her exit was race-related. Smith’s grown-man sexy in Focus may not be as stimulating as it could or should be; for that, blame the abbreviated love scenes on writer-directors Glenn Ficarra and John Requa and a chemistry with Robbie that’s stronger in off-set photo booth selfies than on the actual screen. At least the tastefully luxe, grown-up affair is a step in the right direction. And that’s a start to making all of the Internet racists’ nightmares finally come true.
Boris Kodjoe, Nicole Ari Parker Coming to Daytime Talk
Daytime television is about to get a lot better looking. Nicole Ari Parker and Boris Kodjoe will debut a brand-new talk show on Fox, called The Boris & Nicole Show. The series will have a summer test run starting July 6th in select markets, like New York and Los Angeles. According to Daily Variety, the pair aim to focus on lifestyle and topical issues, in addition to featuring celebrity guests. “We met and fell in love on screen so any time we get to work together we know it will be a lot of fun,” says Kodjoe. Adds Parker, “There are so many things that we are passionate about so we are thrilled that we will now have a platform to share these issues with an audience.” The couple met on the set of Soul Food and often appear together on Real Husbands of Hollywood. We look forward to seeing even more of the gorgeous pair.
2016 Audi R8 V10
Extolled as the Audi model closest to motorsport heritage, this revamped high-performance ride from the four rings boasts a mid-engine V10 mid-engine providing 610 horsepower, clocking 3.2 seconds during the 0 to 100 km/h sprint. The German car manufacturer is calling the new R8 the most powerful and fastest production model to screech out of the Audi factories, which essentially says everything you need to know.
Industry Sets Friday as Global Record Release Day
After seven months of semi-public back-and-forth, a conversation instigated in part by Aussie piracy and Beyonce’s surprise release in December of 2013 has resulted in the global recording industry accepting Friday as the release date for new albums. As reported in August, the shift will take place this summer. According to a statement from the International Federation of the Phonographic Industry (IFPI), which represents labels worldwide, a study found that a majority of consumers who bother to care which day new music comes out prefer to hear it on Fridays and Saturdays. “Music fans live in the digital world of today,” wrote IFPI head Frances Moore. “Their love for new music doesn’t recognise national borders. They want music when it’s available on the internet — not when it’s ready to be released in their country. An aligned global release day puts an end to the frustration of not being able to access releases in their country when the music is available in another country.” IFPI Holds Meeting on Global Friday Street Date, U.S. Opposition Mounts The proposal wasn’t met with hosannas from every corner of the industry, however. While most agreed that a globally agreed-upon day for new music was best, there was some consternation over the choice of Friday. “The only justification for a Friday release date would be if it resulted in a net increase in sales,” Entertainment Retailers Association Kim Bayley said in early October. (Sales weren’t central to the IFPI’s justifications for the move, though combating piracy could be considered the same thing.) Just this week, Beggars Group chairman Martin Mills said: “I fear this move will also lead to a market in which the mainstream dominates, and the niche, which can be tomorrow’s mainstream, is further marginalized. I fear it will further cement the dominance of the few — and that is exactly what it is intended to do.” Rich Bengloff, head of the American Association of Independent Music, released this statement on the news: “A2IM supports the concept of a global street date but, for a variety of business reasons as spelled out in our previous comments, there are a number of business hurdles that make Fridays less optimal for the United States marketplace, and independents in particular. That said, as part of the worldwide music community, A2IM will endeavor to make the transition as smooth as possible for our members and our commerce partners and a success for our artists’ fans.” The Department of Record Stores, an affiliation of independent record stores in the U.S. and Canada — had proposed the world adopt the current U.S. release day, Tuesday, arguing that easing the transition for the top two music markets in the world (North America and the U.K.) would save costs for smaller operators in the business. Regardless of the opposition, Friday it is. A press release of quotes in support of the change from a long list of industry leaders — RIAA head Cary Sherman, Concord president and CEO Glen Barros, outspoken Orchard founder Scott Cohen, Rdio CEO Anthony Bay and representatives from Sweden, Spain, Italy, Australia, Germany and France’s trade bodies — clearly shows there’s little room to turn this car around
Kid Rock on Beyonce Worship: ‘I Like Skinny White Chicks’
“People are like, ‘Beyoncé’s hot. Got a nice fucking ass.’ I’m like, ‘Cool, I like skinny white chicks with big tits.'” Someone call the Beygency — there’s an unconverted rock star on the run. Actually, it’s not too big a surprise. Kid Rock comes off as a big skeptic of mainstream pop in his Rolling Stone cover story, and Beyoncé isn’t spared. But he didn’t find it in his heart to at least limit his criticism to her music. He told Rolling Stone he is “flabbergasted” by Beyoncé worship, saying, “Beyoncé, to me, doesn’t have a fucking ‘Purple Rain,’ but she’s the biggest thing on Earth. How can you be that big without at least one ‘Sweet Home Alabama’ or ‘Old Time Rock & Roll’? People are like, ‘Beyoncé’s hot. Got a nice fucking ass.’ I’m like, ‘Cool, I like skinny white chicks with big tits.’ Doesn’t really fucking do much for me.” Kid Rock Criticized For Killing Cougar Perhaps Rock doesn’t hang around with many fans of “Crazy in Love” or “Single Ladies (Put a Ring On It)” or “Drunk in Love.” He has been hanging around with the likes of Hank Williams, Jr. and Bob Seger, the latter of which wrote “F.O.A.D.” (aka, Fuck Off and Die) for Rock’s new album First Kiss. He also bought his 500-acre property in Troy, Ala., from a tip from Williams — sight unseen — to go along with his houses in Michigan, Malibu and Nashville.