Drake’s “So Far Gone” Projected To Debut In Top 10 On Billboard 200
Drake’s 2009 breakout mixtape is heading to the Billboard charts for the first time.
According to Billboard, Drake’s So Far Gone is heading to the top 10 on the Billboard 200. While the publication seems to believe a top 10 entry is guaranteed, they also said there’s a chance it’ll debut in the top 5. The project is aiming at moving 45k within its first week alone. If Drake’s project ends up reaching the top 10, the rapper will have his 10th top 10 studio album.
Although this is the first time the mixtape, which was initially released as a free mixtape, hits streaming services, the EP of the same name that included five cuts off of the tape along with two additional tracks peaked at number six on the chart.
Since then, every project Drake’s released has debuted at #1.
Cardi B Feels For Khloe Kardashian Amid Tristan Thompson Cheating Scandal
“We know how it is when a n***a fuck up.”
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She continued to call people pit for wishing the worst on a woman, especially a woman with a baby.
“We know how it is when a n—a f–k up. Y’all know that your heart shatters in pieces. Y’all know it feels like your heart is literally bleeding and you just want to die and you can’t even sleep,” she said. “You actually can’t even escape it when you sleeping because you actually dream about it … it’s like it’s mainly the women in the comments. It’s like why do you guys like manifest and be happy off of that?”
Eminem’s Virtual Reality Film “Marshall From Detroit” Now Available
Eminem’s new film is available now for free.
In the film, Em travels around the city with Sway Calloway, telling the radio host about what the city means to him. He also touches on many of the topics pertinent to his career, looking back on his earliest attempts to break into the music industry and how he evolved over the years. “I don’t think we really knew who we were yet, as far as what’s gonna be our style, what’s gonna be our sound,” says the rapper. “Especially back then, we used to think, ‘Man nobody comes to Detroit – they look at us like a ghost town.’ We want to be somebody, we want to stand up.”
Due in part to Marshall, Detroit became something and is now seen as a major city for hip-hop. Watch the documentary for free today.
2 Chainz Previews Travis Scott Song With LeBron James In New Album Trailer
“Rap Or Go To The League” comes out in March.
In the clip, he can be seen jamming to some unreleased music with LeBron, who is the official A&R for the album. Shamelessly plugging Apple Music a few times in the video, Tity Boi exclaims that he wants to play another song for his audience. He turns on a Travis Scott feature, confirming the Houston rapper for the album and getting fans even more hyped than they already were.
Along with the album, fans will be able to get an inside look at the conversations LeBron and 2 Chainz had while making the project. That clip will be exclusive to Apple Music. Chainz shouts out Draymond Green, OBJ, and more in the video above. Are you excited for Rap Or Go To The League to finally arrive?
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Mac Miller Tribute Video Includes Never-Before-Seen Footage With Vince Staples
Vince Staples spits a freestyle and more unreleased goodies in this tribute video.
In the video, we see Mac bobbing his head while producing one of his songs, keeping an eye on the basketball game in front of him. He wears his infectious smile throughout the entire tribute clip, also repping his Pittsburgh Steelers’ jersey with pride. Closing out the footage is a freestyle that Vince Staples performed in the studio. Mac cheeses with each new bar, going crazy over the “25 years by myself, no features” line.
Mac Miller was close with Vince Staples throughout his career, collaborating with him on a mixtape in 2013. Check out the video below. RIP Mac Miller.
50 Cent Theorizes Jussie Smollett Lied To Help “Empire” Beat “Power”
50 Cent’s meme-war on Jussie Smollett is only getting started.
“He getting ready to tell the DA @theoriginalbigdaddy knew what I was doing the whole time,” writes 50. “He told me it would help Empire’s rating. That POWER show on STARZ was too good. LOL.” Such is a testament to Fif’s promotional brilliance. He always manages to find a way to bring everything full circle. Of course, it wouldn’t be surprising to see a rise in Empire ratings following the whole Smollett fiasco, if only a temporary one.
While Jussie is currently awaiting his legal fate, he has been left at the mercy of the hip-hop community. Snoop Dogg has already taken to roasting him willy-nilly, and we get the feeling 50 is only getting started.
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Offset Officially Announces Album Title In New Teaser
“Father Of 4” will arrive at midnight tonight.
Until now, details surrounding the project have been misty. There isn’t much known about the album, except for the fact that it’s coming out tonight. In a brand new video posted to Instagram, Offset’s son announces the official title, saying that it’s “on the way.”
We’re still missing a tracklist and an album cover but right now, anticipation has been built very high for tonight. “Red Room” has been received well by Offset’s fans and the entire work has been teased by his wife to be extremely personal. Get set to learn a lot about Set in a few hours.
Are you looking forward to Father Of 4?
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Eminem’s “Infinite” Paved The Way For “Slim Shady”
With “The Slim Shady LP” turning 20, examine how Eminem’s devilish alter-ego persona is ingrained in Detroit soil.
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Given everything Em experienced during his pre-Interscope come-up, it’s easy to attribute anger as the primary catalyst to Slim Shady’s unholy birth. Still, an early examination of his peers and collaboratives does foreshadow some of the content he’d later come to pen. The Dirty Dozen, who’d later come to be known as D12, had been putting in work before Eminem entered the fold. Mr. Porter and Proofboth played a hands-on role in developing the music of Infinite, handling production and drum programming respectively. Yet Em had been collaborating with several Detroit emcees, including Peter S. Bizarre, who seemed fuelled by the same macabre principles as Shady.
Take a look at “Bring Our Boys,” a 1997 D12 cut off the unreleased Underground EP. In his closing lyrics, Bizarre spits “talkin’ more shit than Howard Cosell, Butt-fuckin’ jezebels in nasty hotels.” A far cry from the Nas-esque lyrical dexterity displayed on Em’s Infinite, but a testament to the company he was keeping. Interestingly enough, both Infinite and The Underground EP were recorded around the same time. And here Em was on D12’s “Chance To Advance,” trading verses with Bizarre about how he’d “bust a nut and dump that bitch in Lake St. Clair.” Not to mention his first (of what would become a recurring pattern) instance of violently lusting after a female artist on “Take The Whole World With Me.” “Bizarre’s in tha lobby with the Beatles, Smokin bowls, pokin holes in his veins with dirty needles,” raps Em. “We get all doped up from poppin’ uppers, and run a train on Foxy Brown without rubbers.”
That’s not to say that Em’s Infinite was an exercise in virtue. Songs like “Backstabber” found Eminem weaving tales of hood justice doled out courtesy of a butcher knife. Yet his earlier works lacked the “Grand Guignol” of his later material, which is to say, the sense of relishing in spectacle. That’s not to say Em immersed himself in horrorcore like the Geto Boys before him, but he certainly dipped a toe in the blood-pool. Nor is it to say that Bizarre was a prominent influence, though it is curious to note how Em was seemingly encouraged by Bizzy’s grotesque hedonism. Of course, the Dozen is notoriously dirty, and likeminded individuals like Swift McVay and Kuniva were no strangers to the lewd and crude. Could the increasing proximity to D12 be one of the primary motivators behind Em’s stylistic shift?
Aside from the anger, of course. After all, the Slim Shady EP was the next step after The Underground EP, and marked the most overt display of Slim’s zany brutality. It was there that listeners were introduced to “Just Don’t Give A Fuck” and “Just The Two Of Us,” but once again Em found himself emboldened by his D12 associates. The album’s first song, “No One’s Iller,” features Eminem, Kon Artis, and Kuniva trading verses. For many, this would mark the first recorded reference to Slim Shady, a shocking development to be sure.
“Warning, this shit’s gon’ be rated R, restricted, you see this bullet hole in my neck? It’s self-inflicted,” raps Em, in his verses’ opening lines. “Doctor slapped my momma, “Bitch, you got a sick kid”, arrested, molested myself and got convicted.” Bearing in mind’s Em’s aforementioned throne-epiphany, are we to expect that Em’s deviation into darker, borderline horrorcore content was solely derived from frustration? It’s entirely possible. Yet the presence of gallows humor remains a throughline, and one that speaks to a sense of camaraderie. For all the ills within his life, Em’s support system, be it D12, the Outsidaz, or later, Royce Da 5’9”, served as a constant means to fuel his escapism. It should also be noted that one of his dominant influences, the irreplaceable Redman, had long mastered the art of dark comedy. In that sense, inferring any malice or genuine hatred from his bars is, in itself, an insult to the Slim Shady spirit.
True, the transition into Slim Shady allowed Em to vocalize some of his more primal urges in a sincere, and admittedly disturbing, fashion. “Kim” comes to mind, about as far a cry from Infinite’s lyrical wizardry as they come. Such a performance is viscerally real, and far closer to the anger Em once grappled with than the diabolical whimsy of something like “As The World Turns.” The beauty of Em’s acceptance of the Slim Shady persona is that his creativity was given a wider scope of range. No longer confined to the limitations of bigging up his own rhymes, Em had free reign to depict his childhood and personal life with whatever macabre fantasies of his choosing. With The Slim Shady LP celebrating its twentieth anniversary, it’s easy to look back on Slim as a symbiote of sorts, the manifestations of his darker urges. Yet that carefree sense of mischief should never be forgotten, nor should the ones who helped to draw it from the shadows.
D12 – “No One’s Iller”
2 Chainz Accuses Nike Of Stealing His Cover Art: “I’m Happy I Could Influence You”
2 Chainz pens a biting letter in response to Nike copying his cover design.
2 Chainz’s address starts on a gratuitous note, as he gives thanks to Nike for the influence the company has imparted on his own personal brand. But things get sardonic fast at the midway mark of the paragraph when 2 Chainz makes non-idiomatic use of the expression “With that being said” to segue into biting criticism. Seeing 2 Chainz belie into letter form is something to behold.
“I’m happy I could influence you guys to make this shoe based off my last album #prettygirlsliketrapmusic ! I met a few really good and cool @nike reps in Charlotte this past weekend and looking forward to speaking to someone soon about this ! Love Always , Negotiating Toni,” 2 Chainz professes in a mellow tone meant to mitigate his actual resentment.
2 Chainz did eventually find a moment to plug his new project Rap & Go To The League before signing off completely. In the subsequent Instagram post (above), the Def Jam artist reminded us all of the fact: Pretty Girls Like Trap Music went Platinum, an achievement he has every intention of repeating in future outings.
Beyonce & Jay Z Didn’t Pay For Meghan Markle Painting
The artist said he would’ve like to have gotten paid, but he’s cool with it.
On Wednesday, Jay Z & Beyonce made headlines after they gave a speech at the Brit Awards while standing in front of a Meghan Markle painting. The power couple said they chose the painting of Meghan in honor of Black History Month, and later Beyonce congratulated her on her pregnancy on IG.
“In honor of Black History Month, we bow down to one of our Melanated Monas,” Beyonce wrote. “Congrats on your pregnancy! We wish you so much joy.”
Well thanks to the power of the Carters, the painting has received a ton of publicity ever since, and the man responsible for it is getting nothing for it. Artist Tim O’Brien tells TMZ that he was shocked and honored to see his artwork behind the Carters, but he still would’ve like to received some compensation.
“It would be been nice to profit someway, but that’s not what this is what its about,” he said. He added that no one from Jay and Beyonce’s camps hit him up for permission to use it either.
Thankfully the artist is taking this all very cool and isn’t going to take legal actions against the Carters. He’s just happy to get the publicity anyway he can, but admits that doesn’t pay the bills though. Check out his chat with TMZ (below).