YG IS THE BOOLEST MAN ALIVE!!
“STAY DANGEROUS” ARRIVES TOMORROW, AUGUST 3RD!
WATCH EPISODE 1 HERE: https://youtu.be/flZAuONgEpM
PRE-ORDER YG’S “STAY DANGEROUS” HERE: https://yg.lnk.to/StayDangerous
RVLTN – Chapter 1: The Divided States of AmeriKKKa BEING RELEASED ON JULY 20TH
“My RVLTN EP series is about taking the politically incorrect conversations from the barbershop and expressing them through music. Chapter 1, “The Divided States Of AmeriKKKa” highlights the root of race issues in this country. It addresses white supremacy, systematic oppression, as well as introspective realizations about the responsibility of becoming a leader. RVLTN will continue to unfold and evolve throughout upcoming chapters in my quest for viable solutions, black empowerment, and justice. This only the beginning.”
– Bobby Sessions
Bobby’s a highly talented rhymer and lyricist, and he raps over production that pulls from both real-deal funk and real-deal jazz… He’s really the whole package: good delivery, a good message, and an ear for picking good beats.
Sessions confronts racism with a captivating flow that’s both acrimonious and awe-inspiring.
“Like Me” embodies everything we love about hip-hop: punchy, poignant, political, and powerful.
PUSH ARTIST OF THE YEAR AUGUST 2017–
Kacy Hill – Def Jam Recordings
VIDEO WITH A MESSAGE
Fueled by an aggressive slate of new albums and singles and led by a new executive team – has launched into the summer season with ever-increasing heat. Ignited by Kanye West and G.O.O.D. Music, Def Jam artists have generated over 1 billion cumulative streams globally in the past month, and new music from Alessia Cara, Logic, YG, 2 Chainz and Jeremihis poised to dominate the charts all summer long.
“We’ve been very fortunate to be treated to this unprecedented schedule of game-changing releases from the inimitable Kanye West and his G.O.O.D. Music label,” said Paul Rosenberg, chairman and CEO of Def Jam Recordings. “I’m very pleased with how the team has responded and the success we have shared so far.”
With his historic five album run – yielding an unprecedented four consecutive Top 5 chart debuts in as many weeks from Pusha T, Kids See Ghosts, Nas, and his own #1 album ye– Kanye has once again grabbed control of the culture and shifted the paradigm. By releasing five 7-song albums, including the most-recent, critically acclaimed K.T.S.E. from Teyana Taylor – in consecutive weeks, Kanye has changed the concept of the album rollout, at once impossibly shortening the runway and elongating the news cycle, while unspooling the narrative with each release. In effect, the five albums have created a 35-song “playlist” across multiple genres: old school, sample-heavy rap, progressive, melodic hip-hop, R&B, psychedelic rock-rap, and more.
In addition to five albums lodged in the Top 25 on Apple Music, songs by Def Jam artists have also netted 19 debuts on the Billboard Hot 100. Charging headlong for the charts, Alessia Cara’s “Growing Pains,” #1 Most Added at Top 40 radio for two weeks running, and one of six new Def Jam tracks on Shazam’s US Future Hits Top 20 chart, including: “Yikes” and “All Mine” by Kanye West, “Bigger Than You” by 2 Chainz, “The Light”by MihTy (Jeremih & Ty Dolla $), and “Cops Shot The Kid” by Nas.
Def Jam’s seasoned promotion staff has an astonishing 8 tracks going for adds across multiple formats at radio – including “If You Know You Know” by Pusha-T, and “Big Bank” by YG. Propelled by an acclaimed BET Awards performance and the new music video trending at #3 on YouTube, “Big Bank” has exploded at Apple Music, Spotify, and Shazam.
At the same time, multi-platinum, Grammy®-nominated Def Jam artist Logic is headlining a sold-out tour in support of his #1 mixtape Bobby Tarantino II, the follow-up to Everybody, recently certified platinum. The mainstream worldwide success of Logic’s 4x-platinum “1-800-273-8255” is still reverberating more than a year after its release: last week 1-800 was awarded a Gold Lion for Artist as a Cause Ambassador at the annual Cannes Lion global brand conference.
Grammy®-nominated multi-platinum singer/songwriter Jhené Aiko’s life-affirming album TRIP is also on the verge of RIAA gold certification, after spinning off two global hit singles, the gold “While We’re Young,” and platinum “Sativa” featuring Rae Sremmurd, each with over 100 million streams.
Behind the scenes at Def Jam Recordings, the company’s amazing new digital team has implemented new strategies to grow social followers and engagement. Def Jam now boasts the #1 social following of all major record labels, with an Industry-leading 400+K followers on Instagram, over 900+K followers on Twitter and growing. The five G.O.O.D. Music/Def Jam releases alone have amassed over 70 million mentions and counting.
In another first for the label, Def Jam has employed an aggressive Direct-To-Consumer strategy to become the#1 D2C label within the Universal Music Group (UMG). This has been driven largely by the new G.O.O.D. Music releases, with creative, robust offerings of merch, vinyl, and special products including lithographs, cassettes and more.
While rolling out new projects from its heavy-hitting roster of stars, Def Jam is bringing a fresh crop of talent into the marketplace, with new music from recent signing like YK Osiris, Bobby Sessions, G.O.O.D. Music’s 070 Shake & Valee, PVRX, Fetty Luciano, and more.
(June 14, 2018 – New York, NY) Hip-Hop icon Nas – who’s legendary career spans over two decades as one of the undisputed greatest MC’s of all time – releases NASIR tonight via Mass Appeal / Def Jam Recordings. NASIR is Nas’ 11th studio album, and his first new solo release since 2012’s Life Is Good. NASIR’s seven tracks are produced by Kanye West. West was also creative director for the exclusive Cali Thornhill Dewitt designed merch collab, which will be available on shop.nasirjones.com.
NASIR is the fourth of five consecutive weekly albums produced by West, each with seven tracks: Pusha T’s Daytona, Kanye West’s ye, the Kids See Ghosts collaboration between Kanye and Kid Cudi, Nas’ NASIR, and next week’s finale from Teyana Taylor.
YouTube will exclusively stream tonight’s NASIR album listening party with Nas and Kanye West on the Mass Appeal YouTube channel. Fans wanting to get a first listen of the album can catch the stream on YouTube at 9pm ET here: http://bit.ly/NasirLiveStream.
NASIR will be available at all streaming services and digital music retailers. In addition, Nas has launched an exclusive online store – shop.nasirjones.com – offering merch designed by Cali Thornhill Dewitt with creative direction by Kanye West, NASIR vinyl and CD formats, and more.
The release of Nas’ NASIR – in collaboration with Def Jam Recordings – is Mass Appeal’s first as part of its new partnership with Universal Music Group, announced earlier this week.
Nas (Nasir Jones) first reached an international audience when his track “Halftime” was tapped by producer MC Serch as the opening cut on 1992’s Zebrahead movie soundtrack. Signed to Columbia Records, the first full-length album by poet and rhyme-master Nas arrived in 1994, Illmatic. The RIAA platinum hip-hop landmark featured “It Ain’t Hard To Tell,” “The World Is Yours,” and “One.” 1996 brought the breakthrough double-platinum It Was Written (#1 R&B for 7 weeks, #1 pop for 4 weeks), with his first major crossover singles “Sweet Dreams” and “If I Ruled the World (Imagine That).” Success continued with the double-platinum I Am in 1999 (again #1 pop and #1 R&B), with the chart singles “Nas Is Like,” “Hate Me Now” (featuring Puff Daddy), and “You Won’t See Me Tonight” (featuring Aaliyah).
Subsequent albums by Nas included: the RIAA platinum Nastradamus (1999, #2 R&B, #7 pop, with “Nastradamus” and “You Owe Me,” featuring Ginuwine); the platinum Stillmatic (2001, #1 R&B, #5 pop, with “Got Ur Self A…,” “Ether,” “One Mic,” and “Rule”); the platinum God’s Son (2002, #1 R&B, with huge R&B/pop crossover hits “Made You Look” and “I Can”); and the platinum double-CD Street’s Disciple (2004, #2 R&B, #5 pop, with “Bridging the Gap” and “Just a Moment”).
Over the years, Nas has also been the featured guest on a number of crossover hits by other artists, among them: Allure (“Head Over Heels,” 1997); R. Kelly (“Did You Ever Think,” 1999); Missy Elliott (the #1 “Hot Boyz,” 1999); fellow Queensbridge rapper Mobb Deep (“It’s Mine,” 1999); Nature (“The Ultimate High,” 2000); Jagged Edge (“I Got It 2,” 2002); J-Lo (“I’m Gonna Be Alright,” 2002); Kelis (“In Public,” 2003, and “Blindfold Me,” 2006); Kanye West (“Classic (Better Than I’ve Ever Been),” 2006); and others.
In addition to his successful career in music, Nas has pursued a career in motion pictures that began with his co-starring role (alongside DMX) in 1998’s crime drama Belly, a film by director Hype Williams (with whom Nas has done several video clips). Subsequent appearances include Albert Pyun’s action crime thriller Ticker (2001, with Tim Sizemore and Steven Seagal); Carl Seaton’s Sacred Is the Flesh (2001, also co-written by Nas); a cameo as himself in Boaz Yakin’s comedy Uptown Girls (2003, with Brittany Murphy and Dakota Fanning); Lawrence Page’s Murda Muzik (2004, with Ron Artest and Chinky); the fictional hip-hop group bio-pic The Vapors (2008, with an all-star cast of Roxanne Shanté, Kool G Rap, Marley Marl, Biz Markie, and others); the CBS tv hit series, Hawaii Five-O (2010); Black Nativity (2013); and Monster (2018), Anthony Mandler’s adaptation of Walter Dean Myers’ award-winning young adult best-seller.
GRAMMY’S BEST NEW ARTIST ALESSIA CARA REVEALS PERSONAL LYRICS TO NEW SINGLE “GROWING PAINS,” OUT THIS FRIDAY
ALESSIA SET FOR DEBUT PERFORMANCE OF “GROWING PAINS” ON THE TONIGHT SHOW WITH JIMMY FALLON ON MONDAY, JUNE 18
FOLLOWS GROUNDBREAKING RUN OF 6 GLOBAL PLATINUM HITS: “HERE,” “WILD THINGS,” “SCARS TO YOUR BEAUTIFUL,” “HOW FAR I’LL GO,” (MOANA), “STAY” (WITH ZEDD), AND “1-800-273-8255” (WITH LOGIC)
WITH OVER 7 BILLION STREAMS TO DATE, ALESSIA WAS THE MOST-STREAMED NEW FEMALE ARTIST OF 2017
“Growing Pains” is Alessia’s first new, self-penned, solo recording since her 2015 platinum debut album KNOW-IT-ALL, which spawned the multi-platinum, Top 40-chart-topping global hits “Here” and “Scars To Your Beautiful.” For Alessia’s legions of die-hard fans, “Growing Pains” is the long-awaited follow-up to the 4x-platinum “1-800-273-8255,” her historic collaboration with fellow Def Jam artist Logic, one of 2017’s landmark singles with over 1.5 billion streams worldwide. Along with “Stay” – her double-platinum #1 pop collab with Zedd – and other hits, Alessia has generated over 7 billion global streams to date.
Singer/songwriter Alessia Cara, a JUNO award winner for 2016 Breakthrough Artist of the Year in her native Canada, went on to receive the “Rule Breaker” honor at the Billboard Women in Music annual event. She won MTV Video Music Awards in 2017 for Best Electronic Dance Video (for“Stay”) and Best Fight Against The System (for her multi-platinum #1Billboard Pop Song “Scars To Your Beautiful,” which she and Logicperformed with Khalid as the climactic moment of this year’s Grammy broadcast). Alessia also won back-to-back ASCAP Pop Awards for “Stay”and “Scars To Your Beautiful”; along with Dance Song of the Year (for“Stay”) at the iHeart Radio Music Awards.
Alessia has earned nominations for Favorite Female Artist – Pop/Rock at the 2017 American Music Awards, the People’s Choice Award for Favorite Breakout Artist, the Billboard Music Award for Top New Artist, the BET Award for Best New Artist, the BBC Award for Song of The Year, and many other honors. In addition, she lent her voice to the RIAA platinum “How Far I’ll Go” penned by Lin-Manuel Miranda, official song of Disney’s animated film Moana.
On ‘Growing Pains,’ Alessia grapples with feelings of confusion and isolation, searches for peace, and ultimately finds joy in the face of her rapid-fire transition from childhood to becoming a young adult and an artist. Read the lyrics below…
“Growing Pains” Lyrics:
Make my way through the motions
I try to ignore it
But home’s looking farther the closer I get
Don’t know why I can’t see the end
Is it over yet?
A short leash and a short fuse
They tell me it ain’t that bad
“now, don’t you overreact”
So I just hold my breath
Don’t know why I can’t see the sun
When young should be fun
And I guess the bad can get better
Gotta be wrong before it’s right
Every happy phrase engraved in my mind
And I’ve always been a go-getter
There’s truth in every word I write
But still the growing pains, growing pains
They’re keeping me up at night
(hey hey x8)
And I can’t hide
‘cause growing pains are keeping me up
at night (x2)
Try to mend what’s left
Of my content incomprehension
As I take on the stress
Of the mess that I’ve made
Don’t know if I even care for “grown”
If it’s just alone
It’s starting to look like
Ms. Know-it-All can’t take her own advice
Pieces of my peace of mind
More than I want to admit but I can’t lie
To myself, to anyone
Cause phoning it in isn’t any fun
Back to my youth the way I want to
The days my brother was quicker to fool
AM radio, not much to do
Used monsters as an excuse
To lie awake
Now that monsters are the ones that I
Have to face
No band-aids for the growing pains
BOBBY SESSIONS PLANS A REVOLUTION IN NEW MUSIC VIDEO “PICK A SIDE”
LISTEN TO “PICK A SIDE” HERE:
BOBBY SESSIONS IS TRYING TO START A DIALOGUE
WATCH THE DALLAS RAPPER’S NEW VIDEO FOR “PICK A SIDE.”
Today, Bobby Sessions’s latest single “Pick A Side” premieres on The FADER and the artist’s mission continues to unfold. With “Pick A Side,” Sessions sets his sights on controversial black figures, equating the behavior of Candace Owens, Jason Whitlock, Ray Lewis, Omarosa and more, who are addressed in the track and music video, to house slaves informing on the subversive activity of slaves in the field. “The same way a person would sacrifice his or her relationship with the people on the field in order to get in good with the master, we have the same thing happening today where there are black people in positions of power and positions of influence that have opportunities to shed light on real situations affecting their own people,” Sessions says. “Instead, they dismiss them in the pursuit of getting the acceptance of white people in positions of power and it needs to be called out.”
The video showcases how a revolution happens. It starts small with pictures of the people Sessions believes need to pick a side while speaking to his people and as he’s delivering the information he’s posing to them, which side are you on?
In February, when it was announced that you signed with Def Jam you mentioned quitting your job in 2015 and dedicating yourself to becoming a great rapper and manifesting this current success. Can you explain that process a little more?
When you’re working a job, after you pay all your bills, you’re broke anyway. At least at my pay rate I was. I was spending all my money on music. I would go to work from 9 a.m. to 5:30 p.m., I would sit in traffic in a car with no AC in record hot Texas summers from 5:30 to 6:30 maybe eat from 6:30 p.m. to 7 p.m., and I would would record from 7 p.m. to 2 a.m. at the Dojo every single day. That was my thing. By the time I got done paying for that and paying for my bills, I was broke anyway. I thought, I’m either gonna stay here and be a hamster in the wheel or I can be out there and go for my dreams. I’m in my early twenties making these decisions. I can go back and still get a job later if that’s really what I want to do but the real fear and real danger is not doing it because I was scared of me being 50 and 60 living with “what if?” It was super easy to leave and that’s the reason I mentioned quitting my job.
How did signing to Def Jam fit into the vision you had yourself and your career?
I always fantasized about how it would feel to sign with Def Jam and then I got signed by Eminem’s manager (Paul Rosenberg, now the CEO of Def Jam), and the way I always thought that that would feel… it didn’t feel any different than how much I peacocked my chest out when I walked out of my old job. When I signed my contract in New York it felt the same way when I imagined that I signed the contract. That’s the main message that I try to get out to people. The reality that I lived in is that I’m the greatest rapper that ever came from Dallas. I don’t think of any other reality other than that in regards to Dallas in particular. And since that’s true, then, of course, I’ll have the right energy to attract my deal going through to when I shot my first video. Of course I came out of that, because that was my mentality before that was a consensus with everybody else.
What are you trying to manifest through your music?
I want to make material that’s way bigger than me. I’ve been talking about race in particular on all my projects. Go back to Law of Attraction and my album cover is a gorilla that’s literally shredding its outer. The gorilla represented the negative image that white people have on black people. So you saw me as an animal but I’m shattering your view of me with this art and through the law of attraction. My broad mission is to empower all black people around the world. That’s my main mission.
I feel like there’s a lot of psychological damage, psychological trauma that we inherited that never got addressed and it’s still never been addressed. It’s been quiet, it’s taboo to even be talking about. It’s a bunch of things that need to be addressed globally. The effects of white supremacy all around the world and [I want to] do as much as I can to get us as a people to manifest and be our best self. My individual goal, I want to make sure that when we look back at the history of the greatest rappers ever, I want my name to be mentioned at the top of the list. As I’m getting older, I’m realizing that individual goal is subjective. The impact that I really have in the booth that’s what I want to be measured by.
Tell us about the new single, “Pick A Side.”
The song is talking about field and house niggas and how you have to pick a side. This is a different time and this is not a time where you can straddle the fence. Our generation’s done a good job of, “let’s try to see all sides of everything.” OK, after you evaluated … pick a side. Don’t be scared of what side you’re standing on.
Even thinking back to slave times, you had the field negroes outside picking the cotton, manning the land and then you had the house negro, who was inside the house, typically lighter skinned, and he had a bunch of temporary privileges over the black people in the field. When the master and the master’s family is done eating, you get the scraps at the end. You also notify me if there’s some people on the field doing something they’re not supposed to be doing you come tell it to me. We have the same thing happening today where there are black people in positions of power and positions of influence that have opportunities to shed light on real situations affecting their own people but instead they dismiss them in the pursuit of getting acceptance of white people in positions of power and it needs to be called out.
In the video that would be Candace Owens, Jason Whitlock, Ray Lewis, right?
There’s two people in particular I call out on the record: Jason Whitlock and Ray Lewis. [Lewis] is someone I really idolized as a football player, and, when I heard his comments on Colin Kaepernick, how he should only worry about football, I felt like he was trying to appease the white people at his network as opposed to shedding light on our community. So it’s not to say he is a house nigga, it’s to say that I need you to pick a side and don’t think that these white people love you for having these opinions. If the white people you work with truly care about humanity they will let you say that. You don’t have to throw your community under the bus in order to get cool with another community. If we’re all supposed to be one community it should make a white person sick to their stomach that black people are getting murdered for no reason if we’re really all one race.
“Pick A Side” was a bit of a hometown affair featuring production from Sikwitit and video direction from German Torres, two creatives you’ve worked with for a long time in Dallas. Why was it important to keep it close to home?
It’s important to take care of home first. We have some great content from both of those guys so we wanted to give them the first dibs on creating content for us now that we have this new platform. Sickwitit and I have done a lot of great records together and I think we’ve crafted a song together and I think I’m excited for everybody to experience it for the first time. This one is different because the style of these songs as compared to the other songs are very different. We’re definitely two different people than when we first started. The sound now is a lot more disruptive.
PRESENTED #1 PLAUQE FOR “DESPACITO” WITH DADDY YANKEE FEATURING JUSTIN BIEBER
International superstar Luis Fonsi achieves three nominations at the 2018 GRAMMY Awards for his multiplatinum global smash with Daddy Yankee — “Despacito” [feat. Justin Bieber].
The nominations include “Record of the Year,” “Song of the Year”, and “Pop Duo or Group Performance”. “Despacito” is available via UMLE/RBMG/Def Jam/Republic Records HERE.
The 60th annual GRAMMY ceremony airs live from Madison Square Garden in New York City January 28, 2018 at 7:30pm ET/4:30pm PT on CBS.
In addition, the Republic Records and Universal Music Latin Enterprises teams recently presented LuisFonsi with a #1 plaque for “Despacito” to commemorate tying for most weeks at No. 1 on Billboard’s Hot 100 chart
ABOUT LUIS FONSI
Merging Latin and American pop like no other, Fonsi indisputably became the biggest crossover superstar of 2017, achieving world domination. With over 4.4 billion YouTube/VEVO views and 1.6 billion cumulative Spotify streams, “Despacito” shattered numerous records throughout the year and made history at every turn. It spent 16 weeks atop the Billboard Hot 100 and remains the “first mostly Spanish-language song to hit #1 on the Billboard Hot 100since 1996.” It soared to #1 on the Mediabase Top 40 chart and the Billboard/BDS Top 40 chart, emerging as “the first predominantly Spanish-language song ever to crown the airplay ranking”—according to Billboard. It also spent 13 weeks at #1 on Shazam, making for the “fourth longest streak in the history of the chart.” Not to mention, it stands out as “the most streamed Spanish song on Spotify” and “YouTube’s #1 Music Debut of 2017.”