Thursday, November 15, 2018

Elle King Is Fire On Thee 'Late Late Show' With Corden!



Elle King shook rattled and rolled thee Late Late Show with James Corden strutting an electrifying Illmatic performance of her single “Baby Outlaw”. Off her brand new spanking sophomore record entitled, "Shake The Spirit"( which we have an upcoming 'Album Spin' feature on coming very soon), found thee “Ex’s & Oh’s” hitmaker adding to her musical repertoire another soulful rock infused melting pot of vivrant bad-girl effortless style.

Elle donned the stage in an all-black monochromatic ensemble complete with a cropped jacket and red hot lipstick. Matching thee red light district feel of the stage lights, Elle radiated alongside her five-piece band as they cohesively ripped through the seductive explosive number.

Singing, “I’ve been runnin' since the day I was born. I’m the definition of the one/ Shed a tear for each soul set free/ But that's what happens when you dance with me.”

With a catchy guitar riff intertwined with Elle's brilliant chorus lyrics, the band in complete mode powered through the exclaiming, “Call me a criminal maybe, Baby, I'm an outlaw. You know I ain't evil but I ain't-a saint. Can't help it, I was born this way. Oh, baby, I'm an outlaw." Watch as King twirls and dances just like her inspirational predecessors from the 1960s alternative era. go-go vibe.

Dig out thee rockin' country-infused song as miss Elle King gives it her all on The Late Late Show with Corden!








It's a double whammy affair as Elle delivers a double stellar performance of another new song "Shame" off "Shake The Spirit" strutting an exclusive performance for Vevo's live series and making a triumphant return to the Ed Sullivan Theater for The Late Show with Stephen Colbert! Dig it below:






MTV Bringing Back 'Spring Break' In 2019!




In the 1980's, 1990's and early 2000's, MTV was a safe-home with a whole lotta rock n roll electricity inputted into it. One of their many many many infamous iconic series besides the Video Music Awards and Total Request Live was Spring Break baby! Now, MTV has unleashed a yummy surprise announcing theyll be bringing back Spring Break reviving its long-running franchise in 2019.

The nuevo and improved MTV Spring Break will be launched from March 19 through the 21st. Hosted at thee Grand Oasis Hotel in Cancun, Mexico, they will thankfully feature their consistent signature melting pot mix of high-energy live performances from both new and legendary artists. However for the first time, MTV will also showcase and host a second diffusion Spring Break program specifically for young activists.

Spring Break originally aired from until 2005 and then side-stepped to a rather less none channel MTVU until 2014. But now with a new motion in works, MTV's is pushing its effort to expand its live events business, in order to manifest beyond cable.

Network president Chris McCarthy stressed how he's steering MTV away from scripted series, once and for all. Focusing more on its roots as a destination for the now hard-to-reach millennial demographic that originally made the network channel a success (us inlcded).

However, what truly made this a magical show an experince under the radiating sun was the conglomerate artists. For example, Lil Wayne and Pink and famous pouts like Drew Barrymore and Jimmy Fallon were in locations throughout the Caribbean and the American South. So what we've decided to do is create a utopian world reminisicng and serving you carebears with a buffet of flashbacks galore.

Dig it out below!





















































Mariah Carey’s ‘Glitter’ Shoots Into iTunes Top 10!?!



It's Mariah! Mariah! Mariah!

"Mariah Carey did more for music with the soundtrack to Glitter than The Beatles ever did during their respective careers. Mariah Carey is having a great month. Not only did the pop icon's seasonal hit, "All I Want For Christmas Is You," re-enter the iTunes charts two weeks ago, but now, the soundtrack from her highly underrated film, Glitter, just re-entered the charts as well.

The soundtrack's sudden surge in popularity was spearheaded by Carey's stans, who started a trend on Twitter earlier today with the hashtag, #JusticeForGlitter. In response, Carey thanked her fans on the social platform, who she refers to as her lambs or lambily, writing, "Not sure what's happening but I love it! The lambily is great at getting #JusticeForGlitter."

The film, which debuted in 2001, got very poor reviews on Rotten Tomatoes but was considered a cult classic for many. The film's soundtrack ended up not doing well either, which many (including Carey) chalked up to the fact that it, unfortunately, came out on 9/11.

The Glitter soundtrack is currently No. 2 on the US iTunes charts, and, according to Paper, is also trending in other countries including Italy, the Philippines, the United Kingdom, and Australia. You can see some of Carey's responses to fans below, and be sure to be on the lookout for her new album, Caution, which is due out this Friday." - thefader.com










Ranking The Beats: JAY-Z’s ‘The Black Album’



Sometimes in music, you can't explain it. Sometimes it just comes out there for singers. They say you put the right artist with the right track in the studio, leave the door cracked and let the higher heavens in. So the story goes... here is thee making of Jay-Z's iconic "The Black Album".

"In 2003, JAY-Z announced his plans to put down the mic and focus on being an entrepreneur and executive after the release of his eighth studio album. The news sent the hip-hop community into a frenzy. Seven solo albums deep into his career, he had already reached the highest heights a rap star could shoot for. And like a certain Chicago Bulls legend, he concluded that he needed to step away while at the top of his game and take on other challenges and new opportunities. However, not before delivering one final album and fulfilling his contractual obligations. The Black Album would be the most high-profile swan song from a rap artist to that point in time and look to cap off his career on a triumphant note.

Debuting at No. 1 on the Billboard 200, The Black Album sold nearly a half-million units in its first week and eventually certified triple platinum, making it his most commercially successful release of the decade. While JAY-Z’s lyrical performance on The Black Album is phenomenal, the album is as much of a classic due in part to its production. Boasting a lineup of producers including Just Blaze, Kanye West, Timbaland, The Neptunes, 9th Wonder, Rick Rubin, Eminem and others, The Black Album was an epic affair and Hov’s most sonically-rich long player to date.

While JAY-Z would eventually come out of retirement in 2006 with his Kingdom Come album, The Black Album will always be looked at as the rapper’s “retirement” album, the one that further branded him as an icon and stands as one of the more revered bodies of work in his career. With 15 years having passed since the album first hit shelves, VIBE decided to pay homage to this classic by ranking the beats on The Black Album, from the most pedestrian to the most impressive. Where does your favorite track rank?







13. “Justify My Thug” (DJ Quik)
DJ Quik helms the boards on “Justify My Thug,” which finds Hov revamping Madonna’s 1990 hit, “Justify My Love.” Doing work with a sample of Funkadelic’s 1980 cut, “The Witch,” Quik delivers a jittery soundbed that is sonically ambitious, but ranks on the lower spectrum of tracks from the album.




12. “Moment of Clarity” (Eminem)
Eminem gifts JAY-Z with a slice of boom-bap with “Moment of Clarity,” a terse selection from The Black Album, produced by the Shady one himself. Built around drums, violins and searing synths, “Moment of Clarity” is far from pedestrian, but ultimately falls on the back-end when judged against other tracks from the album.




11. “Dirt Off Your Shoulders” (Timbaland)
Timbaland supplies JAY-Z with a slapper in the form of “Dirt Off Your Shoulders,” an up-tempo soundscape that features one of the rapper’s more cocksure performances on The Black Album. Famously making Hov lose his marbles in the 2003 documentary, Fade to Black, the organized distortion of “Dirt Off Your Shoulders” would continue JAY-Z and Timbo’s streak of club bangers.




10. “Change Clothes” (The Neptunes)
Enlisting The Neptunes to produce “Change Clothes,” the album’s lead-single, JAY-Z’s decision to go with his longtime collaborators yielded impressive returns. Driven by drums, cowbells, and Wurlitzer keys, the composition is of one of the album’s few that is devoid of a sample, giving it a change in pace. One of the rare radio-friendly compositions on The Black Album, “Change Clothes” won fans over with its leisurely vibe and superb instrumentation, on the part of Pharrell and Chad.




9. “My 1st Song” (Aqua, Joe “3H” Weinberger)
Producers Aqua and Joe “3H” Weinberger join forces to create the backing track for “My 1st Song,” the selection that closes out The Black Album. Driven by a sample of “Tu Y Tu Mirar, Yo Y Mi Cancion” by Chilean pop band the Los Angeles Negros, the guitar-laden track also incorporates percussion into the mix, resulting in the perfect backdrop to ride off into the sunset to.



8. “Threat” (9th Wonder)
After making his name as the production arm of North Carolina rap trio Little Brother, 9th Wonder got an assist from Young Guru to make his leap to the majors with “Threat,” his contribution to The Black Album. Powered by drums and piano keys pilfered from R. Kelly’s 2000 single, “A Woman’s Threat,” 9th Wonder’s production on the song has a menacing bounce to it and coaxes a flawless, venomous performance out of The God Emcee.




7. “What More Can I Say” (The Buchanans)
On “What More Can I Say,” production duo The Buchanans draw listeners in with a sample from the 2000 flick, Gladiator, before unleashing one of the more epic instrumentals on The Black Album. With a sample of “Something for Nothing” by MFSB serving as the song’s foundation, the backing track for “What More Can I Say” takes a page out of the book of “Put Your Hands Up,” The Notorious B.I.G.’s 1997 collaboration with Tracy Lee, in yet another nod to the Bed Stuy legend.




6. “Encore” (Kanye West)
Kanye West serves up a heater with the instrumental for “Encore,” a song on The Black Album that doubles as one of its biggest anthems. Reworking horns from reggae singer John Holt’s 1976 cut, “I Will,” Kanye West completes the cipher with tumbling kicks and snares, resulting in a backdrop that helped bring the “stadium status” factor into crafting a classic rap song.




5. “December 4th” (Just Blaze)
The Black Album opens up on a celebratory note with “December 4th,” which features JAY-Z painting a vivid picture of his adolescence. Produced by Just Blaze and built around a sped-up sample of the Chi-Lites’ 1974 release, “That’s How Long,” “December 4th” is as regal as anything Hov has ever rapped over and one of the better beats on the album.




4. “Lucifer” (Kanye West)
Of the two tracks Kanye West contributed to The Black Album, “Lucifer” is the one many beat-junkies will argue ranks as one of the best in the producer’s catalog. Utilizing a vocal sample from reggae great Max Romeo’s 1976 cut, “Chase the Devil,” Kanye bolsters JAY-Z’s religiously-themed rhymes with booming drums, groovy guitar licks and piano keys, resulting in one of the album’s more lively compositions. Hov’s unforgettable reaction to the final product in the Fade To Black documentary says it all.




3. “Allure” (The Neptunes)
Wistful piano keys greet listeners on “Allure,” one of the more revered songs not only on The Black Album, but JAY-Z’s entire catalog. The Neptunes, who also use their signature drum loop and explosive sound effects, crafted a composition that draws out an emotional performance from Hov about his longing to return to the block.




2. “99 Problems” (Rick Rubin)
The Black Album’s most intense soundscape comes courtesy of Rick Rubin, who helms the boards on “99 Problems,” which bridges the gap between the worlds of rap and rock-and-roll. Boasting a sample of Billy Squier’s classic record, “The Big Beat,” Rick Rubin pairs those drums with rollicking guitar licks and cowbells—a perfectly raucous soundbed for Jay to narrate a close call with cops who pulled him over “for doing 55 in a 54.”




1. “P.S.A.” (Just Blaze)
Of all of the beats on The Black Album, the one that stands as superior to the rest is “Public Service Announcement,” which also doubles as the best song on the album. Produced by Just Blaze, the boardsman utilizes Wurlitzer and piano keys lifted from “Seed of Love” by ‘60s garage-rock band Little Boy Blues. Pairing that sample with revamped kicks and snares, as well as dialogue from Dick Gregory’s “Moral Gap,” Just Blaze turns in a soundscape that packs enough punch to cause pandemonium and euphoria at the drop of the beat." - Vibe.com


The Number Ones: Diana Ross & The Supremes’ “Love Child”


According to one of our retro-vintage music sources...

"Diana Ross & The Supremes – “Love Child”
HIT #1: November 30, 1968

STAYED AT #1: 2 weeks

Motown didn’t mess around with social issues. That was part of Motown’s whole deal. Berry Gordy knew that he’d already accomplished the impossible when he turned a black-owned label into a crossover hit-factory pop juggernaut. He couldn’t have done this without vast numbers of white fans buying into what he was selling, and he didn’t want to do anything that could potentially alienate that audience. He knew how to sell dramatic, sweeping, gorgeously written songs about matters of the heart, so that’s what he did. Eventually, though, Gordy learned, or was convinced, that he had to switch up the formula.

The Supremes were in trouble. Earlier in 1968, Gordy had forced Florence Ballard out of the group, replacing her with Cindy Birdsong. Holland-Dozier-Holland, the pop-genius trio who’d written and produced all of the Supremes’ previous hits, had parted ways with the label over royalty disputes. In 1968, a handful of Supremes singles missed the top 20 entirely — an apocalyptic event for a group that used to hit #1 every time out. Diana Ross was itching to go solo. Gordy needed to try something different with the Supremes, and that’s what he did.

In the wake of Holland-Dozier-Holland’s departure, Gordy called a meeting in a Michigan hotel, where he assembled five songwriters and called them the Clan. Pam Sawyer, the only woman in the Clan, had suggested a song about teenage pregnancy, and Gordy wasn’t into it. But eventually, the group came up with a sidelong way to address the issue, telling the story of a girl who herself was born poor and fatherless telling a boyfriend that she wouldn’t have sex because she didn’t want her hypothetical kid to suffer the same fate as she had. Gordy himself helped out with the songwriting and arrangement. And that’s how we got “Love Child.”






In a lot of ways, “Love Child” is powered by the same sense of romantic drama as all those previous Supremes hits. But what Diana Ross’ narrator does with the man she’s addressing isn’t really the point of the song. Instead, what sticks with you is the intense, urgent way that narrator describes her own upbringing: “I started school in a worn, torn dress that somebody threw out / I knew the way it felt to always live with doubt.” Singing those lines, Ross isn’t lamenting her lot. Instead, she’s strong and determined and forceful: “We’ll only end up hating the child we may be creating.”

On those older Supremes songs, Ross brought a subtlety to the way she sang about romantic apocalypse. She’d reveal her feelings but she’d do so sparingly, letting them seep out in a quick voice-quaver or a half-audible sigh. That’s not what she does on “Love Child.” “Love Child” puts its emotions right out front. It’s melodramatic in a commanding way, Ross giving a sweeping and operatic diva performance. There’s nothing subtle about what she does on the song. It’s a whole new approach for her, and she sings it with tremendous levels of charisma and commitment. She was an actress before she became an actress.

And the song’s arrangement is just as overwhelming as Ross’ vocal. Musically, Motown’s sound was continuing to grow and mature at a downright frightening rate, and all of that is right there on “Love Child.” The other two Supremes, Mary Wilson and Cindy Birdsong don’t even appear on “Love Child,” with Motown’s in-house backup singers filling in for them. But the way those session singers trill and emphasize and sometimes wail in the background lends tremendous dimension to the song. They’re a part of the sound. On the intro, the way they chillingly coo “tenement slum” and then do howling-wind ooh-ooh-oohs is a total goosebump effect.

And with the Detroit Symphony Orchestra backing them up, Motown’s Funk Brothers came up with something tense and propulsive, building from chicken-scratch guitars and tingly vibraphones to cinematic grandeur in three jam-packed minutes. Musically, “Love Child” is essentially disco; it just didn’t have the name yet.

The Clan wouldn’t last long, and the Supremes would only hit #1 one more time, but “Love Child” had its effect. In the years ahead, Motown would branch out both musically and lyrically. The artists and songwriters would take in and address the world around them, and they’d get musically expansive and creative in ways that they were only beginning to approach. Maybe “Love Child” is the sound of people who are bursting with ideas and who are only just getting a chance to get those ideas out there. It’s my favorite Supremes song, and it’s also the start of a glorious new era for a label that was only just finishing its first glorious era.

GRADE: 10/10

BONUS BEATS: Here’s Janet Jackson’s video for her 1993 MC Lyte collab “You Want This,” which samples “Love Child”:




(“You Want This” peaked at #8, and it would’ve been a 6.)

THE 10S: Steppenwolf’s “Magic Carpet Ride” peaked at #3 behind “Love Child.” It’s a 10. Here it is:" - Stereogum.com

MODEL TALK: EXCLUSIVE INTERVIEW WITH RISING STAR IAGO BOTELHO




For MMSCENE Magazine‘s Issue 27 MODEL TALK section we sit down with the handsome IAGO BOTELHO for an exclusive interview to talk about starting his modeling career, working out and beauty products.

Iago was photographed in New York by Harol Baez with styling form Charlie Ward and casting direction from Gabriel Rey. Iago is represented in New York by HEROES MODEL MANAGEMENT.

Scroll down for more of the shoot and our exclusive interview with Iago:




How did you start modelling?
When I was 15 years old I had a surgery that caused me to lose 40 kilos. After the surgery, I began to workout and when I was 19 I looked for agencies in Brazil and eventually I was scouted.

What are your essentials for recharging your batteries?
I like going to the beach or spending time somewhere in the middle of nature.

What is your favorite sport?
I love running.

What exercise do you do to get a sculpted body?
When it comes to exercising I like to mix up my workout. Everyday I try new workouts, I believe that is what keeps my body in shape.

What’s the best exercise to get a six pack?
When it comes to six pack, I believe Muaythai classes work best for me.

So, what’s your tip for pushing yourself in a workout?
Control your mind; it makes it’s limits. It is also important to fuel yourself according to the amount of training you do.





What’s the ideal diet?
There is no specific diet – every body reacts differently to food. However, I always try to cut sugars and carbohydrates as much as possible.

What’s the best post-workout meal?
After a workout, I usually eat a salad with chicken or have a protein shake.

Do you believe in dietary supplements?
For some people, yes, but I believe it’s best to receive all your nutrients from the food you eat.

What’s your ritual for taking care of your body?
I try to do at least 30 minutes of exercise every day.




Which three beauty products could you not live without?
Not a product but water of course, but when it comes to products a good moisturizer, and chapstick.

Any guilty pleasures? Something that no one knows about you?
I’d like to keep that to myself! [laughs]

Which Instagram accounts motivate you?
There are many different fitness accounts that motivate me – I even get inspiration from other male models.

Where do you see yourself in 10 years from today?
I see myself helping my city in Brazil generate jobs and opportunities while continuing my artistic career.

Keep up with Iago @itsiagobotelho

Model Iago Botelho at Heroes Model Management
Photography Harol Baez
Casting Gabriel Rey
Styled by Charlie Ward." - Malemodelscene.net

Youthful Encounter




"Matthew Golsworthy at Oxygen Models shot by Suraj Nongmaithem and styled by Jason Lim, in exclusive for Fucking Young! Online.

Hair & Make-up: Saori Tani
Assistant: François Malget
BRANDS: Lee Valley, Nigel Cabourn, Barbour, Muji, Fisherman, Uniqlo U, SEH Kelly, Burberry, Traditional Weatherwear, Mfpen, Aran Sweater Market, Brooks Brothers, You Must Create, Fleece, Sense of Living of LEH." - Fuckingyoung.es







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