The pop princess’ new single, “Look What You Made Me Do,” has been interpreted by many as a shot at her long list enemies, including Katy Perry, Kim Kardashian and Kanye West.
Observant fans picked up on the fact that the release date for Swift’s upcoming album, Reputation, coincides with the 10th anniversary the death Donda West — Kanye’s mother.
Coincidence or not, this detail has prompted some Twitter users to band together for the newly coined Hey Mama Day, an event named after West’s Late Registration track, “Hey Mama,” which is about his beloved mother.
The idea was put forward on the West subreddit: “Basically, Taylor Swift has released a Kanye diss track, taken shots at Kim’s Paris robbery, and has stolen Kanye’s font and cover art style for her new album Reputation. Most importantly she is planning on releasing it on the anniversary Kanye’s mother, Donda West’s death — November 10. Please all share this around to get as wide a reach as possible and outstream Taylor, simultaneously showing respect for Donda and utmost support for Kanye himself.”
It appears the plan has gained some traction online. Over 3,000 people are attending it as an “event” on Facebook and there are many tweets in support it.
One user concluded “Hey Mama” can be streamed 288 times over the course 24 hours, meaning less than 20,000 people would need to it for it to outperform “Look What You Made Me Do” on Spotify.
The idea that Swift intended to drop her album on the anniversary Donda’s death has been refuted by people close to Universal Music Group, according to Complex.
“It is standard practice that releases come out on Fridays and we locked in this release date based on other Universal Music Group releases. There is no correlation.”
Khalil Sets Record Straight On Ferrari "Race" With Justin Bieber
Los Angeles, CA – Khalil is more than just Justin Bieber’s friend and he’s intent on letting his music speak for itself. The Sacramento singer signed to Def Jam Recordings at the young age 15, which proved to be both a blessing and curse. While it gave the rising R&B artist exposure, the now 22 year old looks back and reminisces on what he could’ve done differently.
For starters, it seems the media was mistaken. Back in 2014, false reports started swirling that said Khalil had been arrested on suspicion driving under the influence after racing a red Ferrari alongside Bieber. HipHopDX caught up with the Los Angeles transplant to set the record straight for the first time.
“We weren’t racing Ferraris,” he says with a laugh. “This the first interview I ever actually said this, I ever actually tried to clear this up. But I was never racing a Ferrari. I don’t know what that was. I blew a 0.0. They tried to say I was a DUI, something like that. I was driving … I blew a 0.0. But yeah I mean, that never makes the news. The case got dropped or whatever. But I feel it. I understand it. But nah, I wasn’t racing.”
Three years later, Khalil and Biebs’ friendship is stronger than ever. “JB,” he says. “Shout out to JB. That’s my brother forever.”
While Bieber remains one the biggest pop stars to date, one question remains — how exactly does Khalil plan on stepping out from JB’s shadows?
“I mean, with the music,” he says without hesitation. “I plan to just keep dropping consistent, great music. I feel like that’s the undeniable part. Like I said, I just took a lot time f and wasn’t dropping a lot music. Just ‘cause I was switching record deals and worried about clearances. And worried about so much other stuff, rather than just putting out more music. I feel like if I could go back, that’s just what I woulda did. I would just put out more music. Because I have so much music that’s probably still just going to sit.
“It’s just better to just put everything out and not really try to be such a perfectionist,” he adds. “And I feel like that’s for sure one my problems. One my good factors that I am a perfectionist and I like to try to make everything perfect. But everything can’t really be perfect how it’s gonna go in my mind. So I kind just gotta let it go some type way rather than no type way laughs].”
Earlier this month, Khalil released hisProve It All project, which showcases his talents as a singer in a brand new light.
Khalil explains, “I’ve been working on this project over the course two or three years. I haven’t put out a body music in a long time. So this is something that I wanted to come with to give the fans something — where I’m at and how I’ve grown. And just keep progressing with more bodies work. So Prove It All is a start.”
With zero guest appearances, the album allows him to take centerstage. Khalil has a plan for standing out among the new surge blossoming R&B artists.
“Just putting my life into my music,” he says. “That’s how I make it originally me. And I feel like nobody can copy that. If I just tell my story and just keep it real. I feel like that’s where people can connect with me. And just being relatable.”
Yasiin Bey Suggests Disposable Music Waters Down Quality Of Hip Hop
New York, NY – During a recent interview on Hot 97’s Ebro In The Morning, Yasiin Bey (formerly Mos Def) expressed his frustration with the lack quality in today’s Hip Hop music, something he attributes to the sheer volume content being put out by modern-day artists.
Bey admitted he finds it difficult to keep up with all the new music being released and questioned the quality the music being put out.
“How are people even supposed to focus on your shit if there’s 11 million niggas that got new shit out everyday? I can’t listen to all these — I got shit to do,” Bey says around the 41-minute mark. “I have things to do. It’s not a fucking game. It’s not a joke. The more you become an adult, you realize, ‘I’m a fucking adult’ … I’m not sitting here … I’m not listening to all these niggas. Why? I could just listen to already made niggas whose shit just gets better with time, and if some new niggas come through like] my man J.I.D from Dreamville Records]. Fire. Gimme that.
“But even in the course a day, for the artists that I do like, how much time, if I’m trying to develop myself as a useful human being, do I have to sit and be entertained?” he continued. “And if I’m gonna just be sitting there opening myself up to listening to some shit, what is it doing for me? What did I learn at the end this? What beauty was expressed? … I be clowning all my young people with their listening selection sometimes so hard, but I understand because it’s there generation. But I be like, ‘Yo, put some critical thought into what the fuck is being communicated here. What is this young nigga talking about?’”
Elsewhere in the interview, Bey outlined why it wasn’t necessary for artists like Drake and Kendrick Lamar to sign major label deals early on in their careers.
“Did Drake really have to sign a deal with Young Money?” he said. “He had songs on the radio that was charting without a deal. I went to see Kendrick at The Music Box Theatre in L.A. in 2011 and] it was sold out! It was] sold out f Section.80 and everybody knew every single word. This was six years ago.”
Bey and producer Ferrari Sheppard, released their December 99th album late last year. The project was recorded in South Africa, where Bey spent much 2016 detained as a result passport issues.
Watch the full interview above.
Wyclef Jean Breaks Down His Biggest Records & Reveals How "The Score" Was Almost Shelved
DXHQ – In the 21 years since the release The Fugees’ The Score, Wyclef Jean’s star has only grown. From writing some the biggest hits in contemporary music history to carving out his own lane with solo projects, Wyclef’s body work is legendary.
The versatile musician recently stopped by DXHQ to politic with the #DXLive crew about some his biggest hits in between putting on a live concert for the staff and viewers.
On Writing Carlos Santana’s “Maria, Maria”
“Coming in the game as a Fugee, after The Score and] Carnival, my strength really is writing songs,” Wyclef explained. “The first time I knew I had to write my songs in the industry was after “Killing Them Stly” because it just blew f the ro and I’m like, ‘Who’s getting the publishing? Well, you’re not, you didn’t write it.’ We done made someone like $30 million. So I love writing. If you’ve seen the movie Life with Eddie Murphy and Martin Lawrence, that was the first movie I scored.
“I got a call from Clive Davis like, ‘Yo I need you to do this record with Santana.’ Carlos Santana will tell you that the first time I met him I wrote the groove for ‘Maria, Maria’] on a keyboard. Clive Davis was giving me a call because I think we was just coming f writing] Whitney Houston’s ‘My Love Is Your Love.’ He was] like, ‘Yo, Santana needs a joint.’
“Santana is one the greatest guitar players. So I get to see Santana and the whole record is ‘Maria, Maria.’ The reason I call the record ‘Maria, Maria’ is because] there was an old play back in the days I used to be obsessed with called West Side Story where it was like two gangs and then the main girl was Maria. That whole love triangle story is two gangs and the only way peace happens is through Maria. So that’s how the whole West Side Story came about and I know Carlos is a bad ass. He’s a rebel. This the kind stuff he would want to talk about and interpret with his guitar.”
On How DJ Khaled’s “Wild Thoughts” Came To Be
“So when I got the call from my brother DJ Khaled, we go back to Shottas, so that’s my brother,” Wyclef said. “I commend him. He has grown as a producer in an incredible way so for him to actually take ‘Maria, Maria’], because it was already #1, and make it number #1 again? That’s like somebody’s doing your work and then doing it justice. You ever hear someone try to take your stuff and say, ‘Yo this person just messed up my creation. No, I don’t want to clear that sample.’ So we definitely commend DJ Khaled.”
On The Back Story Behind Shakira’s “Hips Don’t Lie”
“There was a bit a war when I did ‘Hips Don’t Lie,’” Wyclef revealed. “The Hip Hop community] was like, ‘Yo man, you stole from] Peter Gunz & Lord Tariq!’ I was like, ‘Actually that was sampled by an older generation and they came and sampled it for Déjà Vu].’ We come and sample it for ‘Hips Don’t Lie’ and make it bigger. That’s really a pattern, right? The same way you can say for DJ Khaled and ‘Wild Thoughts.’ So for me, these patterns let me know my position is just a creator content. Don’t try to adjust for any formation but just do myself and everything else just gonna come in and adapt to it.
“I’ll give you a fact check that you didn’t know. The original version ‘Hips Don’t Lie’ is called ‘Dance Like This’ and guess who did it two years before Shakira in that movie Havana Nights? Claudette Ortiz was the first person I recorded it with] and two years later, mixed the record with Shakira. I just think Ortiz is] brilliant. I remember the group City High was just the two guys and one day in the studio, I just heard her and was like, ‘Who is that singing?’ She was in the back, quiet. I was like, ‘That’s the group!’ That whole movement on putting it together was incredible, but I just think sometimes because we come from The Fugees that we expect the next generation to be able to grasp it but success at a young age is no joke. What happens is you can either make it or break it. City High had enormous success] in the beginning but it was hard to carry it.”
On The Creative Process Behind The Score
“One the biggest records on The Score is ‘Ready Or Not’ and there’s a movie called Sleepwalker,” he recalled. “In the Booga Basement, y’all know how y’all get lit now? We used to get zonied. We were zonied. We herbed up in the basement and I was watching this movie Sleepwalker and this sample comes on. I’m already trippy, so I go and I had a VCR and we connected it back to the studio and recorded that. Threw it on the MPC60, chopped it up. Then Lauryn Hill] walked in and was like, ‘What’s this?’ Then out nowhere she goes, ‘Ready or not, here I come. You can’t hide.’ And that record is only three things; I call it the cafeteria boom bap because all I did was copy whatever the MPC was doing on my hand, that sample, and then a vocal.
“The Score for us was the come up. Back in the hood, we used to watch a show called Good Times and the whole thing is that you trying to get the come up. The whole thing with The Score was to say, ‘If only I had a chance to get my mama up out food stamps, what would it look like? If I had a chance to change my community to where people see my red and blue flag, what does that look like?’ So for us, The Score was not music; it was a movement. Fugees is short for refugees because in order for it to last, we knew it had to be bigger than us. The records that we love more as records that when we hear them, we can just identify with them. That’s how we really did The Score and that’s how The Score came to be. So till today, that album stands the way it is maybe because we did it in a basement. We couldn’t afford to go into some big room with a Neve, so my uncle gave us the basement. Me, Jerry Duplessis], Lauryn and Pras would go to the basement and from the basement is where all this stuff is created.”
On How The Score Almost Was Shelved
Embed from Getty s
“You sample something and] you gotta clear it,” Wyclef stated. “We didn’t even know about that back then. Can you imagine if The Score comes out and Enya is like, ‘Move every Fugees record f every Tower Records’ at the time or from] anywhere? Sony was freaking out. Luckily when Enya heard everything, she was like, ‘This is different’ and she gave us a pass – which she don’t even need to do. She so gangsta, she live in a castle. You can’t get more gangsta than that. But then we learned composition is important. We learned the art publishing is very serious. I always tell kids, get your copyrights right.”
On How He Finessed His Way Into Eric B & Rakim’s “Don’t Sweat The Technique” Video
“On The Score, there’s a record called ‘The Mask,’ Wyclef recalled. “There’s a lot jazz influence and actually coming up, even though I was doing Hip Hop, my teacher was like, ‘You’re gonna be a jazz major.’ They put me in jazz and my first music video I ever was an extra in was Eric B & Rakim’s ‘Don’t Sweat The Technique’ and] I’m playing the] upright bass. I was barely 17. The way that this happened is I get that call. You watching where the music videos are at because] you want to be an extra. I love The R, so I’m like, ‘Yo, I gotta find out where Rakim and them at.’ We ain’t even know what the treatment was, I swear to you. I just brought my upright bass on the train – my man brought his other joint. We didn’t have no kinda treatment. This my bass from high school. We walk in, there are big bodyguards at the door. I tell my crew I got this. I walk up and I’m like, ‘Yo we Rakim’s band.’ Bodyguard says] ‘Ok, get over there.’ Now years later, I turn into Wyclef and one day I’m at the House Of Blues performing and who I see? Rakim. I held on to The R and I was like, ‘You don’t understand.’ I think he probably thought I was a stan at the time because I’ll tell you every Rakim verse in the world. I was like, ‘Yo, my first music video ever, man, is ‘Don’t Sweat The Technique.’ He did not believe me until he got home and he looked at it and it tripped him out. It’s so funny how destiny is. That’s why I tell everybody, you have to have the will, you gotta be persistent because if I went to that door with like any form doubt, dudes was gon’ be like, ‘Yo you can’t get in here.’”
On Getting Bob Dylan To Appear In “Gone Till November” Video
“There’s a big legend by the name Bob Dylan,” he said. “In my hood, they call me half hippie-half thug. So Bob Dylan, he’s like equivalent to what we would consider our Biggie or our Nas, lyrically, but in a hippie space. So when I did ‘Gone Till November,’ I wanted him in my music video and they were like, ‘Yo, it’s impossible. He don’t even show up for his son’s video.’ And there I was at LAX and Bob Dylan walks through the door. I was pretty starstruck. Bob Dylan shows up and he comes and sits next to me and he was like, ‘Wyclef Jean, I kinda dig your stuff. You remind me an old bass player I used to play with.’ It was so crazy that he would only talk to me. The director would come shaking, ‘Mr. Dylan, it’s time for us to shoot,’ and Dylan] would just look at him and wouldn’t say nothing. Then he would turn to me and say, ‘Don’t this poo butt know this is my 10,000th video?’ That was pretty amazing. But for me, the whole idea with ‘Gone Till November’ is making runs. I have a cousin who died in Baltimore and he ain’t make it back. Now I’m the one that’s gotta go deliver the message to the girlfriend. So that’s the whole idea ‘Gone Till November’.”
To catch more exclusives interviews like this, be sure to tune into #DXLive every Thursday at 3 p.m. PST on DX’s Facebook and the WAV Media app.
Avicii's 'Without You' Remix Contest Lands Winner $5000, An Official Release, And More – Dancing Astronaut
DJ City and have partnered up to create a massive remix contest for “Without You”. The winner receives $5000, a Geffen Records ficial remix release, and more.
The contest began August 28th and will run until September 8th. You can read more about the contest . Though Avicii has been out the spotlight for years, his recent return to the spotlight and still-considerable clout makes this a remix contest up-and-coming producers won’t want to miss.
The Backstreet Boys are back and courting Diplo and The Chainsmokers to produce their next album – Dancing Astronaut
The Backstreet Boys just signed to RCA Records for their 10th studio album, but this one might feature more than just the iconic 90s boy band. In an exclusive interview with , AJ McLean shared that the band was shopping for an electronic music producer to potentially to contribute their new album.
“We’re reaching out to people who we were always inspired by or who may have been fans and we didn’t even know,” AJ McLean shared. “We’ve all made friends with different people. Nick’s been talking to Howie talked to , who’s been a big, big fan and] , we’ve also talked to. We’ve also done stuff with and those guys are amazing and out in Vegas with a residency as well, so who knows.”
Later on in the interview, the band mentioned Timbaland, who Nick Carter has been working on the show with, could be another ble option. With such a star studded cast potential producers for their 10th studio album, it seems as if 90s kids and electronic music lovers alike will have something to listen to with the Backstreet Boy’s new album.
Paul van Dyk announces eighth studio album 'From Then On' – Dancing Astronaut
With the rise streaming and the subsequent focus on releasing singles and EPs, many artists have more or less abandoned the LP format. is not in this camp, choosing to release a brand new album titled From Then On, to be the trance legend’s eighth studio album.The album is set to be released on October 20th, and is a reflection a turning point in the German producer’s life. Van Dyk fell 20 feet from a gap in the stage during the 15th birthday bash for in early 2016. Van Dyk’s renewed perspective during his world travels and the struggle he experienced during his recovery shaped the album. Paul’s heightened awareness meant he also derived great joy from the simple acts he could perform himself, and a newfound appreciation for the small things in life.
From Then On is Paul’s most personal work to date and showcases the producer’s continued devotion to Trance. Three singles from the album have already been released, “Touched by Heaven,” “Everyone Needs Love” and “Stronger Together” (listen below). The album’s title track From Then On is a collaboration with Leroy Moreno and will be released September 22nd.
From Then On will be released on Paul van Dyk’s label, VANDIT Records, on October 20th. Check out the full track list below.
1. While You Were Gone (w/ Vincent Corver) 2. Inhale (w/ M.I.K.E. Push & Fred Baker) 3. Touched By Heaven 4. I Am Alive 5. Everyone Needs Love (w/ Ronald van Gelderen ft. Gaelan & Eric Lumiere) 6. Breaking Dawn (w/ Alex M.O.R.P.H.) 7. Vortex (w/ James Cottle) 8. The Code (w/ Jordan Suckley) 9. Stronger Together (w/ Pierre Pienaar) 10. From Then On (w/ Leroy Moreno) 11. Fairytales (w/ Steve Allen) 12. Close Call (w/ Tristan D) 13. Escape Reality Tonight (w/ Emanuele Braveri ft. Rebecca Louise Burch) 14. Safe Haven
Red Bull Sound Selects slated for inaugural 3 day festival in Philadelphia – Dancing Astronaut
Ever innovating and fering patronage the contemporary scene, is once again planting its flag as one the foremost event organizers in today’s music industry. This October 12-14 the City Brotherly Love will play host to Red Bull Sound Selects, a three-day festival which will include performances by a diverse lineup indie-rock artists.
Performers for the event’s inaugural year include Dawn Richard, Girlpool, SYD, and more. Throughout the three-day event in Philadelphia, shows will take place a few blocks apart at Underground Arts and the Trocadero Theatre. Tickets are only $10 on the Three Days in Philly website, which you can purchase.
HOLY SHIP! unveils its 2018 lineups – Dancing Astronaut
The dance world at large faced a sorrowful bit news at the beginning August with the departure Destructo from HARD Events and thus, his crown jewel festival, . That said, the plans for the beloved cruise festival had already been locked into place, and the show must inevitably go on.
Though Destructo’s absence may leave a hole in the hearts many followers, the experience itself is looking to be an excellent one. Newly-revealed lineups for its back-to-back tenure at the start 2018 point to voyage filled with performances across the entirety the dance music spectrum. January 6-10 will see headlining appearances by the likes Kaskade, Claude Von Stroke, Malaa, and Tchami — Anjunadeep, A Club Called Rhonda, and Fool’s Gold are set to have showcases as well.
Deadmau5 fans can rejoice if they make it to Holy Ship’s January 10-13 affair, as he’ll be making a rare Testpilot appearance for lovers his more underground stylings. He’ll be joined by What So Not, NGHTMRE, REZZ, and plenty more talent from the depths the bass sphere to the top house music. View both lineups in full below.