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Nelly said that the 2000s were the hardest era in hip-hop. He is right and flawed.

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On Thursday, the day of the premiere of the seventh season “Store, an interview program hosted by Maverick Carter, Paul Rivera and occasionally LeBron James (“The Shop” is a James SpringHill Entertainment production), Nelly, Cedric the Entertainer and Becky Hammon, two-time WNBA champion head coach. The Las Vegas Aces joined the conversation. As the title suggests, “The Shop” is a makeshift barbershop that has long been considered a spot where black men in particular have their most in-depth and honest conversations about life; this episode transformed the Las Vegas Aces’ home court right into a barbershop.

Either way, there is a clip circulating on social media showing the a part of the conversation (arguably the most salacious and persuasive part) where Nelly makes her statement that the 2000s were the hardest era in hip-hop because when he was releasing music (in the 2000s after all), he was competing with DMX, Jay-Z, Eminem, Lil Wayne, 50 Cent, Ludacris, etc. His point was that all these rappers were competing for the top rap spots, and since the competition was extraordinary and all the big ones sold out, the level of competition was high and subsequently it was the most difficult time to release music. And I do not entirely disagree with that. He also forgot about Kanye West, who ALSO took up a LOT of space in the years with “The College Dropout,” “Late Registration,” “Graduation,” “808s and Heartbreak,” and “My Beautiful Dark Twisted Fantasy.”

You could also be wondering why he made such a press release? Well, the impetus for the conversation was Paul Rivera talking about rap music at the Grammy Awards and how Killer Mike took home the three most coveted albums in the rap category, none of which were televised. Nelly said the Grammys have to do higher. Paul then asked if Nelly had a chip on her shoulder after arriving from St. Louis, and then Nelly went into his spiel about who he needed to compete with back then, which type of is unnecessary. But perhaps it was the fact that he had a chip on his shoulder that made him compete that much harder and that made him successful amongst the competitive titans of that decade. No one will deny that Nelly didn’t kill the game.

But it begs the query: Did Nelly release music and achieve such success during the most difficult time to release music for his contemporaries? It’s a tough query. No doubt competing with all of those artists at a time when artists like DMX went platinum with two albums in the same calendar 12 months: “It’s Dark and Hell is Hot” and “Flesh of My Flesh, Blood of My Blood”. Jay-Z sold albums and released classics like “The Blueprint” and “The Black Album.” I mean, Eminem is Eminem, he’s one in every of the best-selling artists of all time, and most of those sales occurred in this decade. 50 Cent released one in every of the most groundbreaking albums ever with 2003’s “Get Rich or Die Tryin'” and followed it up with “The Massacre,” which also achieved success.

The point is that Nelly is right that he released and moved units at a time when some hip-hop titans were doing it and when people had to purchase physical units of albums to attain those sales. It’s remarkable to be one in every of the biggest artists moving so many units when people had so many other notable artists at their disposal.

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But I actually think the ’90s were the hardest decade for competition. Rappers were just beginning to make an actual profession in hip-hop. It was much, much harder to get albums into stores and get the sales to maintain you going. The Internet didn’t exist at the starting of this decade, so journalists were gatekeepers in a way that democratized blogs – if a blogger liked you in the 2000s, they may do the whole lot they may to amplify you as much as possible, something that existed to a much lesser extent in the 90s and I’m not even getting began on the 80s.

At least in the Eighties, there may not have been enough artists to actually compete in the same way, but the Nineties produced many classic debut albums from artists that maintained legions of fans well into the 2000s. I feel the 2000s, the blogger era, allowed artists to have a much larger following, making the previous gatekeepers obsolete in some cases. (I suppose the opposite is also true: if a author hates you, he may attempt to spoil your profession.)

Look, in the case of hip-hop conversations, it is not controversial in any respect. I’m not even 100% sure what Nelly was attempting to convey, but it surely’s an interesting idea. Most importantly, rappers like Nelly have managed to attain a level of success normally reserved for pop’s biggest stars, identical to lots of the other artists he mentioned. Nelly is still relevant, which is one other seemingly incredible feat, but Nelly has had loads of hits, so here they’re.

Now in case you’ll excuse me, I’m going to hearken to each “Sweat” and “Suit” because why not?



This article was originally published on : thegrio.com
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Mariah Carey wasn’t always sure about making a Christmas album. “Merry Christmas” turns 30 this month

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Mariah Carey, All I Want for Christmas Is You, Merry Christmas album, theGrio.com

LOS ANGELES (AP) — Mariah Carey is comfortable that it has grow to be culturally synonymous with Christmas — thanks partly to its longevity her iconic song “All I Want for Christmas Is You” and its ubiquity yearly when the vacations come around.

However, the Grammy Award winner admits that she was initially unsure about recording a Christmas album when her label approached her. “I was a little apprehensive,” she says, reflecting on her album “Merry Christmas,” which saw her turn 30 this month.

Ahead of her performance at Sunday’s American Music Awards and her upcoming holiday tour, which begins in November, Carey spoke to The Associated Press about the recommendation she would give to young artists rising to fame and using her song “Always Be My Baby, Ari Aster Horror comedy 2023, “Beau’s scared.”

The interview has been edited for clarity and brevity.

AP: What was it like celebrating the just about twentieth anniversary of “The Emancipation of Mimi” and reflecting on the legacy of the album?

CAREY: I believe “The Emancipation of Mimi” is certainly one of my albums that pushed some boundaries, and I used to be really comfortable about that because obviously I had to return back. And yes, it was a comeback. But it’s certainly one of my favorite albums. Celebrating it this 12 months and celebrating “Mimi” was really fun because I had never done those songs. I never do them. And this time I did it.

AP: Because of this type of underdog feeling, did you are feeling a creative freedom and strength that you could not have felt before?

CAREY: Yes, I feel like people were able to embrace me again. And you realize how I felt about it? I mean, I feel just like the album “Charmbracelet” was also a excellent album, though not everyone knew it. Well, you realize, when “We Belong Together” got here out after “It’s Like That,” which didn’t do as well, but still did pretty much. Whatever.

AP: “It’s Like That” is a great song.

CAREY: It’s a good song. And I really like doing it. You know, I am going through different stages with these albums. That’s interesting.

AP: Your first Christmas album, “Merry Christmas,” turns 30 this month. This was obviously a formative record for you and your profession. Do you remember anything from its beginnings?

CAREY: So the record company said, (*30*) And I said, “I don’t know if I should at this point.” Because, you realize, I used to be very young, I used to be just starting out, and I felt that folks made Christmas albums later in life. But now people have began doing it at any time, like at the height of their profession. I mean, how did I feel? I used to be a little concerned, after which I said, “I love it.” And I arrange a studio and just had a great time.

AP: Chappell Roan made headlines when she talked about how she was battling sudden fame. As someone who has been in the general public eye for therefore long, do you’ve gotten any advice for young artists who’re battling this issue?

CAREY: Well, I’ve been through a lot of drama, and it is not fun since you grow up pondering, “I want to be famous.” I mean, it was really always like, “I want to be a singer. I want to write songs.” But “I Want to Be Famous” was right up my alley. I believe it was probably because I didn’t feel like I used to be ok due to the things I went through growing up. And that is not a good technique to feel, you realize?

But my advice is this: try as hard as you may to enter this industry with love to your talent and what is actually real for you. You know, if it’s like, “I would like to be famous. I would like to run with these people, whoever they’re, famous people,” that is probably not the most effective idea.

AP: Have you seen “Beau Is Afraid” by Ari Aster? with Joaquin Phoenix?

CAREY: Yes. I needed to approve it. I assumed it was an interesting way they used my song “Always Be My Baby.” It was interesting. I mean, it didn’t really fit the movie, but you realize, I got nervous, like, “You know, OK, that’s fine.” This was completely different. I mean, I wasn’t reluctant, but I assumed, “This is something completely different than I’ve ever experienced.”

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Whitney Houston’s Epic 1994 South Africa Performance to Be Released as Concert Film

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Whitney Houston, theGrio.com

LOS ANGELES (AP) — Whitney Houston The epic South African concert, which took place on the heels of President Nelson Mandela’s groundbreaking election, will hit cinemas this fall.

Houston’s 1994 performance was fully remastered and released in cinemas under the title “The Concert for a New South Africa (Durban)” according to a press release released Tuesday by several associates, including Houston’s heirs, Sony Music Entertainment and Trafalgar Releasing.

The limited theatrical release will begin on October 23 and can include: a never-before-seen performance by the late singer from Durban, South Africa. The project will precede a brand new live album, The Concert for a New South Africa (Durban) , which will probably be released on November 8.

“She loved South Africa, she loved the people and she loved Nelson Mandela,” he said. Pat HoustonThe singer’s sister-in-law and executor of her estate in Houston, who’s executive producing the concert film. “This concert is one of the most important concerts of her career. On this important 30th anniversary, we are thrilled to be able to share this film not only with her fans, but also with the people of South Africa and their next generation.”

In 1994, Houston performed three concert events in South Africa, including Durban at Kings Park Stadium, Johannesburg and Cape Town. Her performances took place within the newly unified post-apartheid country following Mandela’s historic election victory.

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The concert events attracted over 200,000 attendees in a show crammed with celebrations of freedom, hope and unity. Proceeds from her concert events went to quite a few local kid’s charities in South Africa through her foundation.

Houston’s performance has been remastered in 4K for the film, together with enhanced audio. The concert film will probably be shown in nearly 900 theaters in greater than 25 countries.

“It was my first time in South Africa, and I don’t think I was really prepared for how this trip would change me forever,” said Rickey Minor, a three-time Emmy Award winner who served as Houston’s musical director for 25 years. “The energy was electric and the audience was incredible as we celebrated the end of apartheid. Whitney shared her love and shone her light.”

Earlier that yr, Houston won three Grammy Awards, including album of the yr for the soundtrack to “The Bodyguard.” She won record of the yr and best female pop vocal performance for the smash hit “ I will always love you.”

Houston was certainly one of the world’s best-selling artists thanks to her effortless, powerful vocals rooted within the black church but made palatable to the masses by her pop persona. She sold greater than 200 million records worldwide over her 25-year profession and won six Grammy Awards, 16 Billboard Music Awards and two Emmys before her death in 2012.

Houston’s live album will feature a few of her biggest hits from ” I need to dance with someone (who loves me)How will I do know?I even have nothing “And” The greatest love of all It will also feature the unreleased song “Love Is”.

“The message of hope and unity from the performance in Durban, South Africa, is still as relevant today as it was 30 years ago,” said Marc Allenby, CEO of Trafalgar Releasing. “Fans will be thrilled to see how powerful it is on the big screen.”

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Yolanda Adams is still dealing with the blessing with ‘Sunny Days,’ her first studio album in almost 13 years

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NEW YORK (AP) — If happiness is a journey, not a destination, then Yolanda Adams has used her faith and smiles to sustain her spirits through life’s ups and downs.

“I think I was born with that happiness gene that people talk about,” the gospel star said. “I want people to leave here feeling like they’re better than they are… I’ve had days when I’ve been up, I’ve had days when I’ve been down. But at the end of the day, the one lesson I’ve learned in every single one of those scenarios is that this too shall pass.”

That theme continues throughout her latest album, “Sunny Days,” her first studio project in nearly 13 years.

“The way you look at anything has a lot to do with how you deal with it,” said the booming-voiced four-time Grammy Award winner.

The 15-track project was six years in the making, delayed by the COVID-19 pandemic and her role in the television series “Kingdom Business”.

“Sunny Days” is a piece written and produced by gospel music giant Donald Lawrence and Rock & Roll Hall of Fame members Jimmy Jam and Terry Lewiswhose work on Babyface also contributed to the delay. The album is promoted by the song “Church Doors”, which after only one week reached number 9 on Billboard magazine’s Hot Gospel Songs chart.

As he has throughout his profession, Adams uses his musical gift of encouragement on songs like the title track “Blessings” and “Powerful,” which has a spoken-word intro: (*13*)

“I try to be the best cheerleader I can be for everyone in my life,” the former elementary school teacher said. “You know how The Lion King says, ‘Simba, remember who you are.’ That’s what it’s all about: You are powerful.”

“When We Pray” – Produced by Jam and Lewis, who rose to fame after working with stars including Janet Jackson, Babyface, Usher and Mary J. Blige — it’s about putting faith into motion. Adams says she has a “lifelong bond” with the duo.

“We write together. We laugh, we cry,” said Adams, 63. “We talk about the problems of the world together and how we can create great music that can make people not only aware of the blessings of their lives but aware of the space they’re in right now.”

Named the #1 Gospel Artist of the 2000s by Billboard, Adams has produced iconic hits resembling “The Battle is the Lord’s,” “I’m Gonna Be Ready,” “In the Midst of It All” and “Be Blessed,” in addition to hits with Jam and Lewis: “Never Give Up” and “Open My Heart,” the latter from her Grammy Award-winning 1999 album Mountain High … Valley Low.

“Open My Heart,” which the late Luther Vandross privately championed when his record company desired to release a special single, reached unprecedented heights, crossing over to R&B radio and peaking at No. 57 on Billboard’s Hot 100.

“I was in the middle of making a business decision that didn’t just affect my family. It affected everyone on the road with me,” Adams said, reflecting on the inspiration for the song. “I’m sitting here today because I made the right decision.”

The Texas Southern graduate starred in the BET+ drama Kingdom Business, currently in its second season, as Denita, a gospel star and music executive determined to guard her family’s secrets. While Adams enjoys playing a personality who is very different from herself, she says it’s been a challenge for some fans.

“I lost a couple of fans who were like, ‘You didn’t have to swear,’” she explained that while she had no input into the script, her character is believable because churchgoers aren’t perfect. “When people are dealing with life, it can make you say things you wouldn’t normally say. And I really hope people take away from ‘Kingdom Business’ this: If you were the person you were trying to judge… how would you feel?”

Adams is currently on the 33-date Kirk Franklin Reunion Tour, which features fellow gospel titans Fred Hammond, Marvin Sapp and The Clark Sisters. While gospel has all the time been her passion, she is open to performing a secular R&B song and has spoken to Stevie Wonder a few duet and helping him with a possible gospel project.

For now, nonetheless, she is focused on getting the message of her book “Sunny Days” across, but she won’t measure its success by the variety of copies sold, but by the variety of hearts touched.

“When I hear your testimony and hear how music was a part of your life, it just makes me more accountable: ‘Yes, I have to keep making this music! I have to keep making good music! OK God, give me some good things so I can keep blessing people.'”

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This article was originally published on : thegrio.com
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