After a three-year recording break, Jagged Edge trumpeted its return in fall 2014 with JE Heartbreak II. The Atlanta group’s eighth studio album debuted at No. 1 on both the Top R&B/Hip-Hop Albums and R&B Albums charts. It also spun off JE’s 11th Adult R&B hit, “Hope.” Now members Brandon and Brian Casey, Kyle Norman and Richard Wingo are back with second single “Love Come Down.” The mid-tempo romp, which samples the 1988 Al B. Sure track “Naturally Mine,” pulsates with the romantic biddings and silky harmonies that are the DNA behind such JE hits as “Let’s Get Married,” “Promise” and “Walked Out of Heaven.” On “Love Come Down,” the foursome leave no doubt as to what’s in store as they tantalizingly promise: “I’m gonna do all I can … to make your love come down.” The single was written by the Caseys and produced by Bryan-Michael Cox, the same team behind “Hope.” “We write in a conversational way lyrically and try to sing in the way we would speak to a woman,” says Brandon of his and twin Brian’s songwriting technique. “That’s probably the biggest secret ingredient: not being afraid to be naked emotionally. ‘Yeah, I love the hell out of this woman’ or ‘Yeah, I hurt like hell.'” JE Heartbreak II, the sequel to Jagged Edge’s 2000 double-platinum album J.E. Heartbreak, also features collaborations with Jermaine Dupri. The 13-song set is a joint venture between the Caseys’ Hard Case Records and Dupri’s So So Def (the group’s first label), distributed by Primary Wave BMG Artists Services. Plans for Jagged Edge’s national U.S. tour this year will be announced soon. Fun fact: Jagged Edge, performing since 1996, borrowed its name from a movie title. “At the time we had a name that nobody liked, including us,” recalls Brandon. “Then another male group came out of Atlanta calling themselves A Few Good Men. That started me looking at movie titles. Jagged Edge [a 1985 film starring Glenn Close and Jeff Bridges] had no significant meaning at the time. I just loved the sound of the name. And we adapted it to mean rough around the edges … that was kind of our story.”
Hip hop and fashion collide once again in the new CNN Films production Fresh Dressed. Directed by Sacha Jenkins, the documentary chronicles the evolution of “fresh” style and rappers’ fashion transformation from three-piece suits to casual chic. “Back in the day, if you find any old Coldcrush flyers, you’ll see that those cats used to dress up. They would get suited for a lot of their events,” Big Daddy Kane said in an exclusive clip from the doc. “I mean, Armani suits. You know, gators and mink coats [dropping] to the floor. However, though, because of hip hop being that new form of music… basically, everybody that was accustomed to wearing suits just started dumbing it down to just straight B-boy.” Dubbed the “rewrite the rules” vibe in the film, this sudden switch in hip hop fashion was one that resonated more with the young audience, and launched the hip hop subculture from South Bronx. The colorful and expressive film also features in-depth interviews with familiar faces in the worlds of hip hop, fashion and even sports. Some of these include Pharrell Williams, André Leon Talleyand NFL linebacker Carl Banks. Fresh Dressed debuts on Jan. 24 at Sundance 2015
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!”
Kim Kardashian Photo: Twitter/@yungjake 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. Larry David Photo: Twitter/@yungjake 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
By Shannon Carlin Tom Petty won’t back down from a fight over songwriting credits. Just ask Sam Smith. Smith was ordered to pay Petty royalties for his hit single “Stay With Me.” Why you ask? Because Petty’s lawyers felt the song sounded a little too similar to their client’s 1989 track “I Won’t Back Down.” And the UK courts agree. Related: GRAMMYs Best New Artist: Mary J. Blige on Sam Smith Smith has reportedly agreed to pay a 12.5% writing credit to Petty and Jeff Lynne of ELO, who helped write “I Won’t Back Down.” An exact amount however has not been revealed. Smith and Petty settled this dispute out of court in October with “no mud slinging,” but news of the settlement was revealed over this past weekend, according to Consequence of Sound (via The Sun). “After it was pointed out to Sam’s camp, they didn’t try to fight it and amicably dished out royalties,” a source told The Sung. “It wasn’t a deliberate thing, musicians are just inspired by other artists and Sam and his team were quick to hold up their hand when it was officially flagged.”
http://youtu.be/9r68nFn9a7U You need a lucky break, and you need to be ready for it. For John Legend, those breaks came when Lauryn Hill invited him to play piano on a solo project and in 2001, when he met a little up-and-coming rapper by the name of Kanye West, Legend was ready. Now, he’s trying to pay it forward by partnering with AXE White Label for a special mentorship program for young artists. “I want to cultivate talent and turn aspiration into action by providing access to industry resources, building confidence and delivering opportunities to shine,” Legend explained, encouraging musicians to “#TakeTheLeap.” Interested acts can submit a YouTube video on the AXE White Label website for a chance to get one-on-one mentorship from Legend and even join him onstage at SXSW in March.