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Azealia Banks Calls ‘Harlem Shake’ Artist a Gay Slur, Reignites Beef With Perez Hilton Azealia Banks reignited her Twitter beef with blogger Perez Hilton — after starting a new one with “Harlem Shake” musician Baauer — on Thursday night by calling each the gay slur that got the outspoken rapper into trouble last month. Banks, who started off the year by branding Hilton a “messy faggot,” initially took to Twitter to respond to Baauer, who tried to block her remix of his surprise hit “Harlem Shake.” She responded to the Mad Decent artist by calling him a “pussy” and stating that he doesn’t “belong in hip-hop.” After musician Brillz wrote that they were “too busy making tunes for u to steal tho,” the Harlem native fired back, “you guys are all fagots… May you drown in faggotry.” It was then that Hilton jumped into the ring, writing, “Classy as always! How does it feel to be better known for all your trash-talking than your music, Azealia? #TeamBauuer.” After going back and forth, she wrote an unpublishable dig at Hilton that included the word “faggot” and later followed with the homophobic epithet once more. Banks, who came under fire from GLAAD in early January, ended her Twitter rampage with a few tweets addressing those who were offended by her using the word. “Here we go again. Everyone pretending to be so shocked and moved by the word faggot,” she wrote. “It’s like society is so bored with itself it needs to hold on to these outdated rules of what you can say and cannot say. Why has society accepted ‘nigger’ As a colloquialism … But will not accept ‘faggot’? Everyones always acting like its fucking 1905 in this bitch.” The Interscope signee is currently prepping the release of her oft-delayed full-length debut “Broke With Expensive Taste,” which is currently without a release date.
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Azealia Banks Calls ‘Harlem Shake’ Artist a Gay Slur, Reignites Beef With Perez Hilton

Azealia Banks reignited her Twitter beef with blogger Perez Hilton — after starting a new one with “Harlem Shake” musician Baauer — on Thursday night by calling each the gay slur that got the outspoken rapper into trouble last month.

Banks, who started off the year by branding Hilton a “messy faggot,” initially took to Twitter to respond to Baauer, who tried to block her remix of his surprise hit “Harlem Shake.” She responded to the Mad Decent artist by calling him a “pussy” and stating that he doesn’t “belong in hip-hop.”

After musician Brillz wrote that they were “too busy making tunes for u to steal tho,” the Harlem native fired back, “you guys are all fagots… May you drown in faggotry.”

It was then that Hilton jumped into the ring, writing, “Classy as always! How does it feel to be better known for all your trash-talking than your music, Azealia? #TeamBauuer.” After going back and forth, she wrote an unpublishable dig at Hilton that included the word “faggot” and later followed with the homophobic epithet once more.

Banks, who came under fire from GLAAD in early January, ended her Twitter rampage with a few tweets addressing those who were offended by her using the word. “Here we go again. Everyone pretending to be so shocked and moved by the word faggot,” she wrote. “It’s like society is so bored with itself it needs to hold on to these outdated rules of what you can say and cannot say. Why has society accepted ‘nigger’ As a colloquialism … But will not accept ‘faggot’? Everyones always acting like its fucking 1905 in this bitch.”

The Interscope signee is currently prepping the release of her oft-delayed full-length debut “Broke With Expensive Taste,” which is currently without a release date.

Nigerian Singer Goldie Harvey Dead Following Trip to Grammy Awards Nigerian pop artist Goldie Harvey is dead at 31, according to announcements on the singer’s Facebook page. Her death came Thursday following her trip to Los Angeles for the Grammys. Upon her return, Harvey reportedly complained of a severe headache and was rushed to a hospital in Lagos, Nigeria, where she was later pronounced dead. “With a deep sense of loss, we announce the shocking death of our darling music star, Goldie Harvey,” said Kenny Ogungbe, head of Kennis Music, Harvey’s record label, in a statement. Harvey, born Susan Filani, attended the American music ceremony despite no nomination at the awards. There, she was spotted with R&B singer Ciara at a pre-event party. Harvey is also known in her home continent for her appearance on “Big Brother Africa” in 2012, on which she stirred controversy for coming off as too Western to many Nigerians. On the show, she met Kenyan rapper Prezzo, a musician with whom she had a relationship. Prezzo was on his way to Nigeria to meet with the singer prior to her death. According to her website, Harvey had won numerous awards in Africa, most recently a special recognition at the Top Naija Music Awards. She was working on a new record, “The Africa Invasion Album.” She is survived by her father, step-mother and numerous siblings.
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Nigerian Singer Goldie Harvey Dead Following Trip to Grammy Awards

Nigerian pop artist Goldie Harvey is dead at 31, according to announcements on the singer’s Facebook page.

Her death came Thursday following her trip to Los Angeles for the Grammys. Upon her return, Harvey reportedly complained of a severe headache and was rushed to a hospital in Lagos, Nigeria, where she was later pronounced dead.

“With a deep sense of loss, we announce the shocking death of our darling music star, Goldie Harvey,” said Kenny Ogungbe, head of Kennis Music, Harvey’s record label, in a statement.

Harvey, born Susan Filani, attended the American music ceremony despite no nomination at the awards. There, she was spotted with R&B singer Ciara at a pre-event party.

Harvey is also known in her home continent for her appearance on “Big Brother Africa” in 2012, on which she stirred controversy for coming off as too Western to many Nigerians.

On the show, she met Kenyan rapper Prezzo, a musician with whom she had a relationship. Prezzo was on his way to Nigeria to meet with the singer prior to her death.

According to her website, Harvey had won numerous awards in Africa, most recently a special recognition at the Top Naija Music Awards. She was working on a new record, “The Africa Invasion Album.”

She is survived by her father, step-mother and numerous siblings.

Chubby Checker Sues HP Over Manhood-Measuring App Chubby Checker the singer has met Chubby Checker the app. And he’s not happy about it. The iconic singer is suing Hewlett-Packard for including an app on its phones and tablets that was not only named after the 71-year-old Checker, but it measured a man’s manhood based on his shoe size. Checker is suing HP for $500,000,000 as a result, his lawyers arguing that customers were “misled into believing that the plaintiffs have endorsed the defendant’s app.” He fears the app might associate his name with sexual and obscene images. The lawsuit, which was reported by the New York Daily News, asserts that Checker “received no compensation for the unauthorized use of the Chubby Checker name and trademark.” The app, which was developed by Magic Apps, was reportedly downloaded 84 times before it was discontinued in September of last year. Still, Checker and pals aren’t happy. “We cannot sit idly and watch as technology giants or anyone else exploits the name or likeness of an innocent person with the goal of making millions of dollars,” said Willie Gary, Checker’s attorney. “The defendants have marketed Chubby Checkers’ name on their product to gain a profit and this just isn’t right.”
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Chubby Checker Sues HP Over Manhood-Measuring App

Chubby Checker the singer has met Chubby Checker the app. And he’s not happy about it. The iconic singer is suing Hewlett-Packard for including an app on its phones and tablets that was not only named after the 71-year-old Checker, but it measured a man’s manhood based on his shoe size.

Checker is suing HP for $500,000,000 as a result, his lawyers arguing that customers were “misled into believing that the plaintiffs have endorsed the defendant’s app.” He fears the app might associate his name with sexual and obscene images.

The lawsuit, which was reported by the New York Daily News, asserts that Checker “received no compensation for the unauthorized use of the Chubby Checker name and trademark.”

The app, which was developed by Magic Apps, was reportedly downloaded 84 times before it was discontinued in September of last year.

Still, Checker and pals aren’t happy.

“We cannot sit idly and watch as technology giants or anyone else exploits the name or likeness of an innocent person with the goal of making millions of dollars,” said Willie Gary, Checker’s attorney. “The defendants have marketed Chubby Checkers’ name on their product to gain a profit and this just isn’t right.”

‘American Idol’ Recap: The ‘Zoanette Era’ Begins This “American Idol” contestant continuously defies expectations by putting in stranger performances each effort. Her vocals are on the border between kind of great and exceedingly over-the-top. She played a song that she made up on the spot about the judges, playing drums proficiently in the process. She is… the most interesting “Idol” contestant in the world. Apparently we’re within what’s being called the “Zoanette Era” at the moment. At least, that’s what Nicki Minaj is calling it. And with good reason — from her audition to her recent solo performance, Zoanette Johnson has been one of “Idol’s” craziest. Her performance Thursday, during which she barked orders at the backing band while pounding away at the drums, was by no means a commanding vocal showcase, but it overshadowed a plethora of other good, sometimes great efforts. I guess during the Zoanette Era, that’s just what happens. Take Angela Miller, for instance. She also started off the show with an original tune. Her “You Set Me Free” stunned the judges, garnering a standing ovation after its radio-friendly sound and Miller’s radio-ready vocal. But in the Zoanette Era, it takes second. Candice Glover, Janelle Arthur and Shubha Vedula put in masterful performances that solidified their standing in the top 20 girls, Glover with a commanding rendition of Alicia Keys’s “Girl on Fire.” And yet, although Glover has been one of the show’s most noticeable performers in recent weeks, folks will barely remember her “Girl on Fire.” But they will remember Zoanette’s… well, whatever that was called. Kez Ban went home. Her original song wasn’t enough, nor were her vocals. But her elimination, especially considering the sheer amount she was featured last episode, paled in comparison. She sang, she was sent home, no more Kez Ban. Let me be clear: I’m not mad about this era. I for one welcome our drum-slaying overlord. I do, however, wonder if the show will focus on Johnson’s quirky, near-train-wreck performances while avoiding singers like Jett Hermano and Juliana Chahayed, who we simply have not seen enough of. Perhaps there’s a reason for that. And perhaps they’re merely throwing the focus at what’s going to get people talking. I suppose the latter’s working, as I’ve already mentioned Zoanette like 100 times in this recap. Prior to the reveal of the top 20 girls, a few were sent home aside from Kez Ban that, in most cases, weren’t too prevalent in the competition, so their eliminations weren’t incredibly shocking. Among these: Kiara Lanier, Lauren Mink, Briana Oakley, Ashlee Feliciano, Sarina-Joi Crowe, Ariel Sprague, Holly Miller and Stephanie Schimel. But the girls weren’t the only ones with cuts to be made. After teasing the moment a week ago, the 28 remaining boys in the competition were finally whittled down to 20. Say goodbye to Peter Garrett, Marvin Calderon, Adam Sanders, Kenny Harrison, Devin Jones, Tony Foster, Will White and David “Mr. Steal Your Girl” Leathers. Before you ask: yes, I am incredibly salty about the latter going home. “Idol” didn’t give a full list of the top 40 moving on, so next week could promise new contestants that haven’t been featured yet. Speaking of next week: Vegas, baby! The contestants head to Las Vegas, where dreams are broken and the shrimp cocktails flow freely. Backed by a studio audience, it’s going to be similar to the live shows in Los Angeles. Other notes: Before her performance, Kez Ban went shopping at the mall with Zoanette Johnson. Can that be a show? I’m serious. I would watch it forever. Rachel Hale beat out Stephanie Schimel for the final spot in the top 20. I love having her in the competition; she always has a smile on her face. Well, except when she’s close to elimination. But still! Josh Holiday tore his pants while singing to stay in the competition (see: #singforyourlife). I’d make a joke, but Keith Urban already covered the “tore it up” base. “That’s the voice.” NO NICKI, YOU MUSTN’T SPEAK ITS NAME!
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‘American Idol’ Recap: The ‘Zoanette Era’ Begins

This “American Idol” contestant continuously defies expectations by putting in stranger performances each effort. Her vocals are on the border between kind of great and exceedingly over-the-top. She played a song that she made up on the spot about the judges, playing drums proficiently in the process. She is… the most interesting “Idol” contestant in the world.

Apparently we’re within what’s being called the “Zoanette Era” at the moment.

At least, that’s what Nicki Minaj is calling it. And with good reason — from her audition to her recent solo performance, Zoanette Johnson has been one of “Idol’s” craziest.

Her performance Thursday, during which she barked orders at the backing band while pounding away at the drums, was by no means a commanding vocal showcase, but it overshadowed a plethora of other good, sometimes great efforts. I guess during the Zoanette Era, that’s just what happens.

Take Angela Miller, for instance. She also started off the show with an original tune. Her “You Set Me Free” stunned the judges, garnering a standing ovation after its radio-friendly sound and Miller’s radio-ready vocal. But in the Zoanette Era, it takes second.

Candice Glover, Janelle Arthur and Shubha Vedula put in masterful performances that solidified their standing in the top 20 girls, Glover with a commanding rendition of Alicia Keys’s “Girl on Fire.” And yet, although Glover has been one of the show’s most noticeable performers in recent weeks, folks will barely remember her “Girl on Fire.” But they will remember Zoanette’s… well, whatever that was called.

Kez Ban went home. Her original song wasn’t enough, nor were her vocals. But her elimination, especially considering the sheer amount she was featured last episode, paled in comparison. She sang, she was sent home, no more Kez Ban.

Let me be clear: I’m not mad about this era. I for one welcome our drum-slaying overlord. I do, however, wonder if the show will focus on Johnson’s quirky, near-train-wreck performances while avoiding singers like Jett Hermano and Juliana Chahayed, who we simply have not seen enough of. Perhaps there’s a reason for that. And perhaps they’re merely throwing the focus at what’s going to get people talking. I suppose the latter’s working, as I’ve already mentioned Zoanette like 100 times in this recap.

Prior to the reveal of the top 20 girls, a few were sent home aside from Kez Ban that, in most cases, weren’t too prevalent in the competition, so their eliminations weren’t incredibly shocking. Among these: Kiara Lanier, Lauren Mink, Briana Oakley, Ashlee Feliciano, Sarina-Joi Crowe, Ariel Sprague, Holly Miller and Stephanie Schimel.

But the girls weren’t the only ones with cuts to be made. After teasing the moment a week ago, the 28 remaining boys in the competition were finally whittled down to 20. Say goodbye to Peter Garrett, Marvin Calderon, Adam Sanders, Kenny Harrison, Devin Jones, Tony Foster, Will White and David “Mr. Steal Your Girl” Leathers. Before you ask: yes, I am incredibly salty about the latter going home.

“Idol” didn’t give a full list of the top 40 moving on, so next week could promise new contestants that haven’t been featured yet.

Speaking of next week: Vegas, baby! The contestants head to Las Vegas, where dreams are broken and the shrimp cocktails flow freely. Backed by a studio audience, it’s going to be similar to the live shows in Los Angeles.

Other notes:

  • Before her performance, Kez Ban went shopping at the mall with Zoanette Johnson. Can that be a show? I’m serious. I would watch it forever.
  • Rachel Hale beat out Stephanie Schimel for the final spot in the top 20. I love having her in the competition; she always has a smile on her face. Well, except when she’s close to elimination. But still!
  • Josh Holiday tore his pants while singing to stay in the competition (see: #singforyourlife). I’d make a joke, but Keith Urban already covered the “tore it up” base.
  • “That’s the voice.” NO NICKI, YOU MUSTN’T SPEAK ITS NAME!
Lil Wayne Offends Family of Emmett Till With Vulgar Lyric Epic chief L.A. Reid apologizes to family of murdered teen; label says they’ll pull down the song, a remix of Future’s “Karate Chop” Epic Records is going to “great efforts” to take down a new Future remix leaked over the weekend with a vulgar Lil Wayne lyric that has offended the family of Emmett Till. The New Orleans rapper made a sexual reference to the beating death of Till, a 14-year-old Chicago boy tortured and shot in Mississippi in 1955 for whistling at a white woman. Till’s family objected and the Rev. Jesse Jackson reached out to his management, The Blueprint Group, on the family’s behalf. The label issued a statement Wednesday night apologizing for the release of the song. “We regret the unauthorized remix version of Future’s ‘Karate Chop,’ which was leaked online and contained hurtful lyrics,” the statement said. “Out of respect for the legacy of Emmett Till and his family and the support of the Reverend Jesse L. Jackson, Sr. … we are going through great efforts to take down the unauthorized version.” Epic will release an official version of the song that “will not include such references.” Neither Jackson nor members of Till’s family could be reached late Wednesday. A publicist says Lil Wayne has had no comment so far. He appears briefly on the song, alluding to the black teenager’s beating in a way too vulgar to print. Till, a native of Chicago, was in Mississippi visiting family in 1955 when he was killed. He was beaten, had his eyes gouged out and was shot in the head before his assailants tied a cotton gin fan to his body with barbed wire and tossed his body into the Tallahatchie River. Two white men, including the woman’s husband, were acquitted of the killing by an all-white jury. Till’s body was recovered and returned to Chicago where his mother, Mamie Till, insisted on having an open casket at his funeral. The pictures of his battered body helped push civil rights into the cultural conversation in the U.S. Bob Dylan wrote a song about it: “The Death of Emmett Till.” A Facebook posting on the Mamie Till Mobley Memorial Foundation page Wednesday night said Epic Records Chairman and CEO LA Reid had reached out to the family to personally apologize.
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Lil Wayne Offends Family of Emmett Till With Vulgar Lyric

Epic chief L.A. Reid apologizes to family of murdered teen; label says they’ll pull down the song, a remix of Future’s “Karate Chop”

Epic Records is going to “great efforts” to take down a new Future remix leaked over the weekend with a vulgar Lil Wayne lyric that has offended the family of Emmett Till.

The New Orleans rapper made a sexual reference to the beating death of Till, a 14-year-old Chicago boy tortured and shot in Mississippi in 1955 for whistling at a white woman. Till’s family objected and the Rev. Jesse Jackson reached out to his management, The Blueprint Group, on the family’s behalf.

The label issued a statement Wednesday night apologizing for the release of the song.

“We regret the unauthorized remix version of Future’s ‘Karate Chop,’ which was leaked online and contained hurtful lyrics,” the statement said. “Out of respect for the legacy of Emmett Till and his family and the support of the Reverend Jesse L. Jackson, Sr. … we are going through great efforts to take down the unauthorized version.”

Epic will release an official version of the song that “will not include such references.”

Neither Jackson nor members of Till’s family could be reached late Wednesday. A publicist says Lil Wayne has had no comment so far.

He appears briefly on the song, alluding to the black teenager’s beating in a way too vulgar to print.

Till, a native of Chicago, was in Mississippi visiting family in 1955 when he was killed. He was beaten, had his eyes gouged out and was shot in the head before his assailants tied a cotton gin fan to his body with barbed wire and tossed his body into the Tallahatchie River. Two white men, including the woman’s husband, were acquitted of the killing by an all-white jury.

Till’s body was recovered and returned to Chicago where his mother, Mamie Till, insisted on having an open casket at his funeral. The pictures of his battered body helped push civil rights into the cultural conversation in the U.S.

Bob Dylan wrote a song about it: “The Death of Emmett Till.”

A Facebook posting on the Mamie Till Mobley Memorial Foundation page Wednesday night said Epic Records Chairman and CEO LA Reid had reached out to the family to personally apologize.

Justin Timberlake Cleans Up in ‘Suit & Tie’ Video Justin Timberlake’s black-and-white drenched video for “Suit & Tie” starts quietly, with the dressed-down singer in various domestic situations: at a piano, getting a rub-down, mixing drinks and eating cereal while Jay-Z, his collaborator on the track, reclines in front of television. Chill. Cut to the club where a dapper JT slips on his appropriate tux and settles into a smooth performance with his orchestra, the ‪Tennessee Kids‬. Backed with a trio of dancing fellas, Timberlake deploys moves that were previewed at the Grammys on Sunday. http://www.youtube.com/watch?feature=player_embedded&v=IsUsVbTj2AY Directed by David Fincer and released on the singer’s website on Thursday morning, the video’s other location is an appropriate one: the studio, where we find Timberlake directing the Kids in the song’s recording. Jay-Z rolls back into view at the 3:00 mark, at which the hip-hop icon holds court on a stool, center stage, with various leggy female dancers doing their thing. “All black at the white shows/ White shoes at the black shows.” By video’s end, there’s a bit of gratuitous trampoline action with Timberlake floating amid a white background, as well as some splash-dancing in a skim of water. “Suit & Tie” is the lead track from Timberlake’s third album, “The 20/20 Experience,” due March 19. After debuting at No. 84 on the Hot 100 four weeks, the song then retreated to No. 13 for two frames before climbing back to No. 8 this week, aided by his performance at the Grammy Awards. Fittingly, the ad running before the “Suit” video is for a pre-order Target’s version of “The 20/20 Experience,” which features two extra tracks.
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Justin Timberlake Cleans Up in ‘Suit & Tie’ Video

Justin Timberlake’s black-and-white drenched video for “Suit & Tie” starts quietly, with the dressed-down singer in various domestic situations: at a piano, getting a rub-down, mixing drinks and eating cereal while Jay-Z, his collaborator on the track, reclines in front of television. Chill.

Cut to the club where a dapper JT slips on his appropriate tux and settles into a smooth performance with his orchestra, the ‪Tennessee Kids‬. Backed with a trio of dancing fellas, Timberlake deploys moves that were previewed at the Grammys on Sunday.

http://www.youtube.com/watch?feature=player_embedded&v=IsUsVbTj2AY

Directed by David Fincer and released on the singer’s website on Thursday morning, the video’s other location is an appropriate one: the studio, where we find Timberlake directing the Kids in the song’s recording.

Jay-Z rolls back into view at the 3:00 mark, at which the hip-hop icon holds court on a stool, center stage, with various leggy female dancers doing their thing. “All black at the white shows/ White shoes at the black shows.”

By video’s end, there’s a bit of gratuitous trampoline action with Timberlake floating amid a white background, as well as some splash-dancing in a skim of water.

“Suit & Tie” is the lead track from Timberlake’s third album, “The 20/20 Experience,” due March 19. After debuting at No. 84 on the Hot 100 four weeks, the song then retreated to No. 13 for two frames before climbing back to No. 8 this week, aided by his performance at the Grammy Awards.

Fittingly, the ad running before the “Suit” video is for a pre-order Target’s version of “The 20/20 Experience,” which features two extra tracks.

J. Cole Drops ‘Power Trip’ Single Featuring Miguel In anticipation of his upcoming sophomore album “Born Sinner,” J. Cole has released the project’s first official single “Power Trip” featuring Miguel. Appropriately timed for Valentine’s Day, the self-produced love anthem sees the Roc Nation rapper reflecting on a doe-eyed, teenage crush that perseveres as he enters adulthood. Cole returns to his hometown after building his name as an artist, but can’t shake his attraction to the one that got away. “Now I’m in this bitch and I’m totally bossed out / Old chicks crying ‘cause they know that they lost out / But, I’m still on you, I’m still on you / My drink spill on me / While I feel on you,” he raps. Spitting two verses, Cole also handles hook duties on the cut. Miguel, who won Best R&B Song for “Adorn” at the 2013 Grammy Awards, appears to sling the bridge, polishing the slow-rolling instrumental with falsetto croons. “I’ve always wanted to use my voice to shift culture, even if just a millimeter,” explains J. Cole. “This song is one of my strongest to date and I look forward to hearing fans’ reactions.” The Fayetteville, NC native is currently prepping the release of “Born Sinner,” which he announced in November for a Jan. 28 release. The album, now slated for release later this year, already spawned the teaser single “Miss America” that peaked at No. 34 on the R&B/Hip-Hop Songs Chart. Just yesterday, Cole released the free five-track EP “Truly Yours” as a gift to fans. On Feb. 26, he will speak at Harvard University’s Hip Hop Archive for “The Mindstate of a Winner: A Conversation with J. Cole,” where he will converse with Professors Henry Louis Gates, Jr. and Marcyliena Morgan in front of 100 students.
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J. Cole Drops ‘Power Trip’ Single Featuring Miguel

In anticipation of his upcoming sophomore album “Born Sinner,” J. Cole has released the project’s first official single “Power Trip” featuring Miguel.

Appropriately timed for Valentine’s Day, the self-produced love anthem sees the Roc Nation rapper reflecting on a doe-eyed, teenage crush that perseveres as he enters adulthood. Cole returns to his hometown after building his name as an artist, but can’t shake his attraction to the one that got away. “Now I’m in this bitch and I’m totally bossed out / Old chicks crying ‘cause they know that they lost out / But, I’m still on you, I’m still on you / My drink spill on me / While I feel on you,” he raps.

Spitting two verses, Cole also handles hook duties on the cut. Miguel, who won Best R&B Song for “Adorn” at the 2013 Grammy Awards, appears to sling the bridge, polishing the slow-rolling instrumental with falsetto croons.

“I’ve always wanted to use my voice to shift culture, even if just a millimeter,” explains J. Cole. “This song is one of my strongest to date and I look forward to hearing fans’ reactions.”

The Fayetteville, NC native is currently prepping the release of “Born Sinner,” which he announced in November for a Jan. 28 release. The album, now slated for release later this year, already spawned the teaser single “Miss America” that peaked at No. 34 on the R&B/Hip-Hop Songs Chart.

Just yesterday, Cole released the free five-track EP “Truly Yours” as a gift to fans. On Feb. 26, he will speak at Harvard University’s Hip Hop Archive for “The Mindstate of a Winner: A Conversation with J. Cole,” where he will converse with Professors Henry Louis Gates, Jr. and Marcyliena Morgan in front of 100 students.

25 Valentine’s Day Drops: Tiesto, Flux Pavilion and More Pick Their Favorite Love Songs Tiësto, Flosstradamus, Flux Pavilion and 22 more DJs pick their favorite V-Day tracks, ones they’ll be bumping during their sets and maybe in the bedrooms, too. Love it or hate it, Valentine’s Day makes us all pull a Celine Dion. That is, talk about love (and occasionally beat our chests). CODE asked 25 DJs to pick the tracks they’d play in a V-Day set. Their responses ranged from mushy to angsty to horny (or from Calvin Harris to Kendrick Lamar to Shaggy). Us CODERS made a Spotify playlist of their chosen tracks, and supplemented it with some of our own. (Some substitutions and omissions were made according to availability; we know you’ll understand.) Enjoy tonight, and be careful out there! Flux Pavilion (Big Beat/Circus) Pick: Shaggy, “Boombastic” “I actually opened and closed my Valentine’s set a few years ago with this, and handed out roses to the front row of the audience. It’s a classic tune.” Tiësto (Musical Freedom) Pick: Tiësto featuring BT, “Love Comes Again” “Because the lyrics say it all. Valentine’s Day comes around every year and gives you the opportunity to celebrate your love with the one you love.” Dillon Francis (Mad Decent) Pick: Alice Deejay, “Better Off Alone” “Because Valentine’s Day can suck it.” Justin Martin (dirtybird) Pick: PillowTalk, “The Come Back” “Just listen to Sammy D swoon on the track. He is begging for lovin’, and it’s hard for anyone to resist with this jam. Pure sexy doo-wop bliss!” Guy Gerber (Supplement Facts) Pick: David Bowie, “Wild Is The Wind” “So sexy, so warm. The lyrics are so scorching, it’s almost painful, but it is still loving to the fullest.” Flosstradamus Pick: Jeremih, “Fuck You All The Time” “It’s easily the most futuristic love song we’ve heard in years.” BassKleph (Vacation) Pick: Calvin Harris, “Thinking About You” “For me, the beautiful, yet almost melancholy vibe of this song, perfectly captures just how fragile and special love is. It’s hard not to smile while listening to this.” Junior Sanchez (Brobot/Size Records) Pick: Romanthony, “Let Me Show You Love” “A classic that stands the test of time. It’s simple and self-explanatory! A lot of people will know Romanthony from his work with Daft Punk, but this precedes that. This record is being reissued for a whole new generation of house heads to experience via the Glasgow Underground imprint this year!” Robbie Rivera (Juicy) Pick: New Order, “Bizarre Love Triangle” “This is the first track that I learned to beat mix. It has the word ‘love’ in the title, but I never understood what they were talking about. Also girls would go crazy every time I played it. I used to mix it with another love song, Erasure’s ‘Oh L’Amour.’ I know I just completely dated myself!” John Dahlback (Mutants) Pick: Roger Sanchez, “Another Chance” “It’s beautiful and one of those songs you just gotta love!” Gramatik (LowTemp) Pick: D’Angelo, ”Brown Sugar” ”Because he sings about heroin. I love heroin.” Alex Gaudino (Ultra) Pick: Alex Gaudino, “I’m In Love (I Wanna Do It)” “It’s the love anthem for the next generation.” Tim Mason (Size) Pick: The Killers, “Runaways” a capella  “This one isn’t a traditional love song, but with lyrics like ‘I knew it when I met you / I’m not gonna let you run away / I knew it when I held you / I wasn’t letting go.’ How can you not get a little weak in the knees?” Thomas Gold (Axtone) Pick: Polarkreis 18, “Allein Allein” (Eric Prydz Remix)  “For all the lonely hearts out there!” Doctor P (Big Beat/Circus) Pick: Bob Sinclar, “Love Generation” “I’ve always been a big fan of Bob Sinclar, and this track just seems to make everybody happy!” Beltek (High Contrast) Pick: Cassius, “The Sound Of Violence” “Because this is simply one of the most positive songs ever made in electronic music history. A true classic.” BARE (trvpezoid)  Pick: Kaskade, “Eyes” (Alvin Risk mix) “One of those songs that’ll make you look at your significant other during the right time of the night.” Stafford Brothers (Cash Money) Pick: DJ Falcon & Thomas Bangalter, “Together” “It’s the perfect end to the set, and hopefully the repetition of ‘together’ will get the message across that we should be together, and make it a happy Valentine’s Day.” Boris (Sci+Tec / Nervous Records) Pick: Veronica, “Someone To Hold”  “A song that I usually drop every V-Day, since it brings back memories of all the good times with my exes.” Sandro Silva (Mixmash) Pick: Brad Carter, “Morning Always Comes Too Soon” “This song is perfect for a romantic night with your loved one. Perfect vocals to get you in that mood, and it has the right lyrics.’” Laidback Luke (Mixmash) Pick: Nouveau Yorican ft Bear Who, “Diga Me” “Because it’s a track my wife and I made together. It’s a special tribute to the set we’re playing in Paris on Valentines Day.” Oliver Twizt (Mixmash) Pick: Usher, “Climax” (Flosstradamus & Diplo mix)  “On Valentine’s Day, it’s not the time to rave, scream or jump. It’s time to get in that ‘after the date’ vibe and have a perfect Valentine’s night (if you do it well).” Noah D (SMOG) Pick: Kendrick Lamar, “Bitch Don’t Kill My Vibe” “Because Valentine’s Day is whack! People always try too hard and just end up getting into some drama. I’m also picking this tune ‘cause it was the first that came to mind, then I walked into the other room, asked my girl what she thought, and she said the exact same thing! Love you, H! XOXO” Morten Breum Pick: Madonna, “Justify My Love” “I am everything but a Valentine’s kind of guy, but this song has been played in my bedroom the past couple of years when I had ‘company’ on Valentine’s Day.” Hadouken Pick: Alphaville, “Forever Young” “Because the evening needs its first slow song.”
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25 Valentine’s Day Drops: Tiesto, Flux Pavilion and More Pick Their Favorite Love Songs

Tiësto, Flosstradamus, Flux Pavilion and 22 more DJs pick their favorite V-Day tracks, ones they’ll be bumping during their sets and maybe in the bedrooms, too.

Love it or hate it, Valentine’s Day makes us all pull a Celine Dion. That is, talk about love (and occasionally beat our chests).

CODE asked 25 DJs to pick the tracks they’d play in a V-Day set. Their responses ranged from mushy to angsty to horny (or from Calvin Harris to Kendrick Lamar to Shaggy).

Us CODERS made a Spotify playlist of their chosen tracks, and supplemented it with some of our own. (Some substitutions and omissions were made according to availability; we know you’ll understand.)

Enjoy tonight, and be careful out there!

Flux Pavilion (Big Beat/Circus)

Pick: Shaggy, “Boombastic”

“I actually opened and closed my Valentine’s set a few years ago with this, and handed out roses to the front row of the audience. It’s a classic tune.”

Tiësto (Musical Freedom)

Pick: Tiësto featuring BT, “Love Comes Again”

“Because the lyrics say it all. Valentine’s Day comes around every year and gives you the opportunity to celebrate your love with the one you love.”

Dillon Francis (Mad Decent)

Pick: Alice Deejay, “Better Off Alone”

“Because Valentine’s Day can suck it.”

Justin Martin (dirtybird)

Pick: PillowTalk, “The Come Back”

“Just listen to Sammy D swoon on the track. He is begging for lovin’, and it’s hard for anyone to resist with this jam. Pure sexy doo-wop bliss!”

Guy Gerber (Supplement Facts)

Pick: David Bowie, “Wild Is The Wind”

“So sexy, so warm. The lyrics are so scorching, it’s almost painful, but it is still loving to the fullest.”

Flosstradamus

Pick: Jeremih, “Fuck You All The Time”

“It’s easily the most futuristic love song we’ve heard in years.”

BassKleph (Vacation)

Pick: Calvin Harris, “Thinking About You”

“For me, the beautiful, yet almost melancholy vibe of this song, perfectly captures just how fragile and special love is. It’s hard not to smile while listening to this.”

Junior Sanchez (Brobot/Size Records)

Pick: Romanthony, “Let Me Show You Love”

“A classic that stands the test of time. It’s simple and self-explanatory! A lot of people will know Romanthony from his work with Daft Punk, but this precedes that. This record is being reissued for a whole new generation of house heads to experience via the Glasgow Underground imprint this year!”

Robbie Rivera (Juicy)

Pick: New Order, “Bizarre Love Triangle”

“This is the first track that I learned to beat mix. It has the word ‘love’ in the title, but I never understood what they were talking about. Also girls would go crazy every time I played it. I used to mix it with another love song, Erasure’s ‘Oh L’Amour.’ I know I just completely dated myself!”

John Dahlback (Mutants)

Pick: Roger Sanchez, “Another Chance”

“It’s beautiful and one of those songs you just gotta love!”

Gramatik (LowTemp)

Pick: D’Angelo, ”Brown Sugar”

”Because he sings about heroin. I love heroin.”

Alex Gaudino (Ultra)

Pick: Alex Gaudino, “I’m In Love (I Wanna Do It)”

“It’s the love anthem for the next generation.”

Tim Mason (Size)

Pick: The Killers, “Runaways” a capella 

“This one isn’t a traditional love song, but with lyrics like ‘I knew it when I met you / I’m not gonna let you run away / I knew it when I held you / I wasn’t letting go.’ How can you not get a little weak in the knees?”

Thomas Gold (Axtone)

Pick: Polarkreis 18, “Allein Allein” (Eric Prydz Remix) 

“For all the lonely hearts out there!”

Doctor P (Big Beat/Circus)

Pick: Bob Sinclar, “Love Generation”

“I’ve always been a big fan of Bob Sinclar, and this track just seems to make everybody happy!”

Beltek (High Contrast)

Pick: Cassius, “The Sound Of Violence”

“Because this is simply one of the most positive songs ever made in electronic music history. A true classic.”

BARE (trvpezoid) 

Pick: Kaskade, “Eyes” (Alvin Risk mix)

“One of those songs that’ll make you look at your significant other during the right time of the night.”

Stafford Brothers (Cash Money)

Pick: DJ Falcon & Thomas Bangalter, “Together”

“It’s the perfect end to the set, and hopefully the repetition of ‘together’ will get the message across that we should be together, and make it a happy Valentine’s Day.”

Boris (Sci+Tec / Nervous Records)

Pick: Veronica, “Someone To Hold” 

“A song that I usually drop every V-Day, since it brings back memories of all the good times with my exes.”

Sandro Silva (Mixmash)

Pick: Brad Carter, “Morning Always Comes Too Soon”

“This song is perfect for a romantic night with your loved one. Perfect vocals to get you in that mood, and it has the right lyrics.’”

Laidback Luke (Mixmash)

Pick: Nouveau Yorican ft Bear Who, “Diga Me”

“Because it’s a track my wife and I made together. It’s a special tribute to the set we’re playing in Paris on Valentines Day.”

Oliver Twizt (Mixmash)

Pick: Usher, “Climax” (Flosstradamus & Diplo mix) 

“On Valentine’s Day, it’s not the time to rave, scream or jump. It’s time to get in that ‘after the date’ vibe and have a perfect Valentine’s night (if you do it well).”

Noah D (SMOG)

Pick: Kendrick Lamar, “Bitch Don’t Kill My Vibe”

“Because Valentine’s Day is whack! People always try too hard and just end up getting into some drama. I’m also picking this tune ‘cause it was the first that came to mind, then I walked into the other room, asked my girl what she thought, and she said the exact same thing! Love you, H! XOXO”

Morten Breum

Pick: Madonna, “Justify My Love”

“I am everything but a Valentine’s kind of guy, but this song has been played in my bedroom the past couple of years when I had ‘company’ on Valentine’s Day.”

Hadouken

Pick: Alphaville, “Forever Young”

“Because the evening needs its first slow song.”

‘American Idol’ Recap: Ladies Shine Despite Some #WrongLyrics After years of male dominance, “American Idol” may finally have some leading ladies. Candice Glover and Angela Miller led a night of preliminary solo and group performances, establishing themselves as the front runners of a group at which they were already near the forefront. But in order to do so, they and at least a thousand others (or that’s what it seemed like) had to make it through some cuts that I’m pretty sure Ryan Seacrest called brutal at some point, followed by a group night that probably featured the exact same moments you’re thinking it produced: personalities clashed, someone forgot the words, catty remarks, a singer came back onstage after their elimination to complain, et cetera, et cetera. Certain aspects were magnified with there only being females; the men took to the stage last week amid a barrage of like half the singers forgetting the words. “Idol” still got to flash its #wronglyrics  hashtag across the screen during the ladies’ performances, but the episode owed itself more to contestants being disillusioned with their group and the song they chose to sing. For instance,there was Zoanette Johnson, who might actually be the most interesting contestant on “Idol” in recent memory. She wasn’t as bubbly at first, seemingly a bit upset that she was stuck in a group with three girls who she referred to as “country singers.” While one can understand that issue, the group performance wasn’t very country, with only Isabelle showing much of a twangy vocal. Regardless, Johnson continues to show that, while she may not be a technically great singer, her overall stage presence and strange decisions while singing are kind of the best and I hope she sticks around FOREVER. Janel Stinney couldn’t do the group thing either, walking out on The Dramatics (lol) during practice because, basically, she was oversinging and when they tried to help her, she wouldn’t have anything of it. But by some divine miracle, despite #wronglyrics, she made it on, along with the 100-times-better-sounding Cristabel Clack. And then there was Kez Ban. Sweet Kez Ban. Almost every single time she talked, you cringed. Her vocals were never spectacular. Her pre-performance jumping jacks reminded you of gym class in the worst way. And yet, her performance with Kez Ban, Breanna Steer, Angela Miller and Janelle Arthur of “Be My Baby” was kind of great. So great, in fact, that all of them make it through to the next round. Granted, Miller and Arthur are among the show’s most promising female contestants, Miller with a strong Kelly Clarkson vibe with Arthur showcasing  some of the season’s top country pipes. So that helps. Some group performances actually shined (gasp!) minus any sort of drama or oddball cutaways. Candice Glover continues to be the best thing ever, stringing together some vocal runs on “Hit ‘Em Up Style” that basically said, “Hey, just don’t screw up, fellow group members, and I’ll pretty much carry you to the promised land.” Turned out Kamaria Ousley, Melinda Ademi and Denise Jackson were fairly strong singers in their own right, Ademi particularly with a vocal that could find a home in urban contemporary or R&B. Raisin’ Cain, an all-country hoedown, was one of at least two to take on Dixie Chicks’ “Sin Wagon.” Brandy Hotard in particular showed some serious country potential, as did Morgan Leigh Boberg. But others weren’t so lucky. Shira Gavrielov, who had a No. 1 single in Israel, could not deal with getting cut after an incredibly underwhelming performance, demanding an explanation from the judges afterward. Seretha Guinn’s group was pretty bad as a whole, and Brandy Neely was sent packing despite a performance that I honestly didn’t mind, though perhaps she was trying a bit too hard. Thursday night begins the final solo performances before the next cut, after which the field will be whittled down to a top 20 for each gender. While the girls as a whole may not have been fantastic, a few front runners were, so I’m reasonably excited for the show. Bullet points time! I need a GIF of Nicki Minaj writing ‘They suck’ on her hand and showing it to the camera on my desk by 5 p.m. today. While I always laugh at “Idol” trying to make hashtags happen during the episode, sorry I’m not sorry that I’m encouraging them by using #wronglyrics. Actually, yes, I am sorry. What monster have I created? OH GOD. The group Almost Famous was not, in fact, incendiary. Everyone should be banned from singing Gotye’s “Somebody That I Used to Know” on this show. No. I don’t care. None of the performances Wednesday were good, Charlie Askew’s kinda blowed and I don’t even want to talk about when Phillip Phillips and Elise Testone did it last year. IDOL, WHAT R U DOIN? IDOL, STAHP. But really, why is #wronglyrics such a thing this year? It’s not like all these songs are obscure Ryan Adams b-sides that only Paul McDonald would know. Unfortunately, we had to say goodbye to Ann Difanti, Ashley Smith, Megan Miller and Sarah Restuccio before groups began. I’m still salty about the last; she was the half-country, half-Nicki audition that I loved.
Zoom

‘American Idol’ Recap: Ladies Shine Despite Some #WrongLyrics

After years of male dominance, “American Idol” may finally have some leading ladies.

Candice Glover and Angela Miller led a night of preliminary solo and group performances, establishing themselves as the front runners of a group at which they were already near the forefront.

But in order to do so, they and at least a thousand others (or that’s what it seemed like) had to make it through some cuts that I’m pretty sure Ryan Seacrest called brutal at some point, followed by a group night that probably featured the exact same moments you’re thinking it produced: personalities clashed, someone forgot the words, catty remarks, a singer came back onstage after their elimination to complain, et cetera, et cetera.

Certain aspects were magnified with there only being females; the men took to the stage last week amid a barrage of like half the singers forgetting the words. “Idol” still got to flash its #wronglyrics  hashtag across the screen during the ladies’ performances, but the episode owed itself more to contestants being disillusioned with their group and the song they chose to sing.

For instance,there was Zoanette Johnson, who might actually be the most interesting contestant on “Idol” in recent memory. She wasn’t as bubbly at first, seemingly a bit upset that she was stuck in a group with three girls who she referred to as “country singers.”

While one can understand that issue, the group performance wasn’t very country, with only Isabelle showing much of a twangy vocal. Regardless, Johnson continues to show that, while she may not be a technically great singer, her overall stage presence and strange decisions while singing are kind of the best and I hope she sticks around FOREVER.

Janel Stinney couldn’t do the group thing either, walking out on The Dramatics (lol) during practice because, basically, she was oversinging and when they tried to help her, she wouldn’t have anything of it. But by some divine miracle, despite #wronglyrics, she made it on, along with the 100-times-better-sounding Cristabel Clack.

And then there was Kez Ban. Sweet Kez Ban.

Almost every single time she talked, you cringed. Her vocals were never spectacular. Her pre-performance jumping jacks reminded you of gym class in the worst way.

And yet, her performance with Kez Ban, Breanna Steer, Angela Miller and Janelle Arthur of “Be My Baby” was kind of great. So great, in fact, that all of them make it through to the next round. Granted, Miller and Arthur are among the show’s most promising female contestants, Miller with a strong Kelly Clarkson vibe with Arthur showcasing  some of the season’s top country pipes. So that helps.

Some group performances actually shined (gasp!) minus any sort of drama or oddball cutaways. Candice Glover continues to be the best thing ever, stringing together some vocal runs on “Hit ‘Em Up Style” that basically said, “Hey, just don’t screw up, fellow group members, and I’ll pretty much carry you to the promised land.” Turned out Kamaria Ousley, Melinda Ademi and Denise Jackson were fairly strong singers in their own right, Ademi particularly with a vocal that could find a home in urban contemporary or R&B.

Raisin’ Cain, an all-country hoedown, was one of at least two to take on Dixie Chicks’ “Sin Wagon.” Brandy Hotard in particular showed some serious country potential, as did Morgan Leigh Boberg.

But others weren’t so lucky. Shira Gavrielov, who had a No. 1 single in Israel, could not deal with getting cut after an incredibly underwhelming performance, demanding an explanation from the judges afterward. Seretha Guinn’s group was pretty bad as a whole, and Brandy Neely was sent packing despite a performance that I honestly didn’t mind, though perhaps she was trying a bit too hard.

Thursday night begins the final solo performances before the next cut, after which the field will be whittled down to a top 20 for each gender. While the girls as a whole may not have been fantastic, a few front runners were, so I’m reasonably excited for the show.

Bullet points time!

  • I need a GIF of Nicki Minaj writing ‘They suck’ on her hand and showing it to the camera on my desk by 5 p.m. today.
  • While I always laugh at “Idol” trying to make hashtags happen during the episode, sorry I’m not sorry that I’m encouraging them by using #wronglyrics.
  • Actually, yes, I am sorry. What monster have I created? OH GOD.
  • The group Almost Famous was not, in fact, incendiary.
  • Everyone should be banned from singing Gotye’s “Somebody That I Used to Know” on this show. No. I don’t care. None of the performances Wednesday were good, Charlie Askew’s kinda blowed and I don’t even want to talk about when Phillip Phillips and Elise Testone did it last year. IDOL, WHAT R U DOIN? IDOL, STAHP.
  • But really, why is #wronglyrics such a thing this year? It’s not like all these songs are obscure Ryan Adams b-sides that only Paul McDonald would know.

Unfortunately, we had to say goodbye to Ann Difanti, Ashley Smith, Megan Miller and Sarah Restuccio before groups began. I’m still salty about the last; she was the half-country, half-Nicki audition that I loved.

Kanye West and Kim Kardashian Skip Airport Security in NYC An employee at JFK airport went against protocol by escorting the celebrity couple past a TSA checkpoint. A staffer at New York City’s Kennedy International Airport violated security protocol by escorting Kim Kardashian and Kanye West past a TSA checkpoint, The Associated Press reports. The celebrity pair, who are expecting their first child together, were permitted to bypass the checkpoint after arriving at the airport, known as JFK, via an international flight. After going through customs and baggage, Kardashian and West were shuttled “through a non-public area in order to provide expedited access to their domestic flight,” a TSA spokesperson told the AP. As it happened, this being a security violation, the parents-to-be were screened privately to compensate for the staffer’s mistake. But they made their flight, which took off following a delay of nearly an hour. Kardashian is due in July. West shocked fans when he announced Kardashian’s pregnancy during a Dec. 30 concert in Atlantic City, around the time the couple purchased an $11 million Bel Air mansion with plans to renovate.
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Kanye West and Kim Kardashian Skip Airport Security in NYC

An employee at JFK airport went against protocol by escorting the celebrity couple past a TSA checkpoint.

A staffer at New York City’s Kennedy International Airport violated security protocol by escorting Kim Kardashian and Kanye West past a TSA checkpoint, The Associated Press reports.

The celebrity pair, who are expecting their first child together, were permitted to bypass the checkpoint after arriving at the airport, known as JFK, via an international flight. After going through customs and baggage, Kardashian and West were shuttled “through a non-public area in order to provide expedited access to their domestic flight,” a TSA spokesperson told the AP.

As it happened, this being a security violation, the parents-to-be were screened privately to compensate for the staffer’s mistake. But they made their flight, which took off following a delay of nearly an hour.

Kardashian is due in July. West shocked fans when he announced Kardashian’s pregnancy during a Dec. 30 concert in Atlantic City, around the time the couple purchased an $11 million Bel Air mansion with plans to renovate.

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