Fourth World Records and Dave Chappelle partnered to release limited vinyl copies of his ‘8:46’ special.
In response to George Floyd’s murder, Dave Chappelle has teamed up with a record label to release limited edition vinyl copies of his special 8:46. Three reports indicate that Third World Records is distributing the rapper’s red, black, and green LPs.
A double album was released by Dave Chappelle, both named after the reported period of time Chauvin kneeled against George Floyd’s neck. Watching Side A takes about 30 minutes. In the B-Side, Amir Sulaiman reads both “My Insides Out” and “We Must Win.”
The vinyl features images from the show and George Floyd’s protests, as well as a moment of silence honoring him and other victims of police brutality and systemic racism. The book will be sold in limited quantities of 846 copies.
In addition to being available on Third Man’s website and in their Nashville and Detroit stores, Dave Chappelle’s limited edition 8:46 vinyl is currently available online. Orders for the black version of the album – due out on Oct. 29 – are now being taken.
Dave Chappelle’s high school in Washington, D.C., Duke Ellington School of the Arts, will receive the sales proceeds.
It was in Chappelle’s 8:46 special, in response to George Floyd’s tragic passing, that he grappled with the loss of another Black man, as well as the recurring incidents of police aggression. According to the press release, YouTube’s most popular video in 2014 was this one entitled 2020, which has garnered more than 30 million views, as well as 7.5 million views on the comic’s Instagram account.
This article was penned by Jonathan P. Wright. Jonathan is a freelance writer for multiple mainstream publications and CVO of RADIOPUSHERS. You can read more of his work by clicking here.
“THE THINGS YOU DO [BAD BOY REMIX]” BY GINA THOMPSON FEAT. MISSY ELLIOTT
“HONEY” BY MARIAH CAREY
“SUMMERTIME” BY BEYONCÉ FEAT. DIDDY
“BREAKDOWN” BY MARIAH CAREY FEAT. BONE THUGS-N-HARMONY
“MO’ MONEY MO’ PROBLEMS” BY NOTORIOUS B.I.G.
“LOVE @ FIRST SIGHT” BY MARY J. BLIGE FEAT. METHOD MAN
“LET ME BLOW YA MIND” BY EVE FEAT. GWEN STEFANI
“Can’t NOBODY HOLD ME DOWN” BY PUFF DADDY FEAT MASE
“CAN’T LET HER GO” BY BOYZ II MEN
“ONLY YOU” BY 112 FEAT. NOTORIOUS BIG
“NEVER LEAVE YOU” BY LUMIDEE
“I’LL BE MISSING YOU” BY DIDDY FEAT. FAITH EVANS AND 112
“SPENDIN’ MONEY” BY R. KELLY
“YOU DON’T HAVE TO WORRY” BY NEW EDITION
Puff Daddy ft. Busta Rhymes and The Notorious B.I.G. “Victory,” No Way Out
Puff Daddy ft. Carl Thomas, Ginuwine, and Twista “Is This the End,” No Way Out
Puff Daddy ft. Foxy Brown “Friends,” No Way Out
“Niggas Bleed,” “Notorious Thugs,” “Another,” “Playa Hater,” “Nasty Boy,” “You’re Nobody (till Somebody Kills You)” from the album Life After Death.
Brian McKnight: “You Should Be Mine (Don’t Waste Your Time)” from the album Anytime
I’m sitting in my living room listening to the album “Personal Conversation” by Case (S/O to Case, your music is the perfect tempo to create a classic article) and watching one of my favorite TV shows, “Jeopardy.” The “cool factor” of Jeopardy is even if you don’t know the answer, it’s super intriguing to find out the absolute truth of the question. So when I research all of the “true” classics Stevie J has produced or contributed to, I find myself in another episode of jeopardy.
Hidden genius is a beautiful quality because it doesn’t seek attention, superficial attraction, or seeks its own interest; the motivation is fueled by passion and relentless ambition. The characteristics of Stevie J are a perfect blend of God-given vision, gargantuan inner drive, unflinching confidence, and an ounce of insanity. Ok, I love Case, but the “Red Berry” Ciroc is kicking in, so I fast-forward to “Can’t nobody hold us down” off the “NO WAY OUT ALBUM.
“Normally, when you hear a sampled song, it doesn’t reinvent itself; however, that’s part of the secret formula for Stevie J. Stevie J has an amazing ability to complement a track with an untraceable production approach and signature melodic finish.
The footprints of legends can only be followed and not duplicated, and that’s why his trademark sound will and must be publicly declared. I’m so amped right now!! Music is the soundtrack to life, and when “VICTORY” comes on, so many visions and thoughts are racing through my mind. I’m pacing through my condo rapidly like I’m in the ring of a championship fight.
Yo, the sun don’t shine forever
(You can turn the track up a little bit for me)
But as long as it’s here then we might as well shine together
(All up in my ears)
Better now than never, business before pleasure
(The mic is loud, but the beats isn’t loud)
P-Diddy and the Fam, who you know do it better?
Timeless music!! How did Stevie J know what to add or cut from this sample and then make it work? Success has different outlooks, but the ingredients are always consistent. Stevie J hears a sound only he can ascertain and develop. When he enters into a studio, the room feels, smells, looks, and resonates with an ambrosial atmosphere.
Every great performer, athlete, entertainer, and etc has this creative arena within their mind which enables supernatural results and unfathomable heights of a phenomenon. I just finished listening to “PAIN” and “Is This The End” blares through my speakers like a Hip Hop symphony. Ginuwine, Twista, & Puff Daddy own this track like it is a birthright, and it flows like a sonic motion picture in “HD”.
Who could make “death” sound so good? Stevie J!! The overall instrumentation and sonic delivery of this track are matchless in this current era. My adrenaline is wearing off a little, so as I sit by red berry Ciroc self-down, I flip over to the track “HONEY” (Bad Boy Remix). This universal track connects with every race, gender, and a hater! Jadakiss rips it from the beginning, Styles P supplies his signature gritty undertones, Mase provides the perfect god-flow finger roll, Puff is simply being Puff, Mariah is like cool whip.
She’s good on top of any dessert! Stevie J’s behind the scenes influence is visible throughout each verse, hook, string, chord, and baseline. Stevie J is James Worthy on the fast break, and nobody finishes better. Who can make a pop record cross over to streets better than Stevie J along with the Hitmen production team.
Stevie J understands the language of music, and that’s an inborn God induced gift. Possessing the ability to coordinate over 7 instruments simultaneously, manage sound, tones, voice inflection, intonation, and most importantly, artistic chemistry.
I stop and do a 100 quick push-ups to get my blood flowing and raise my adrenaline. I switch to “Mo Money More Problems” from the 10X platinum “Life After Death” album. Once Big said ”
Uh, uh, B.I.G., P O, P P A, no info, for the, DEA
Federal agents mad cause I’m flagrant
Tap my cell and the phone in the basement
My team supreme, stay clean triple beam lyrical dream
Man, need I say more about this classic record that Stevie J was a part of during the meteoric rise of Notorious B.I.G. How many producers/people would Sean Combs trust with the music and career of B.I.G?
How many producers possess the patience, instinct, and overall musical acumen to deliver for arguably the greatest MC of all time (Its always a toss-up between B.I.G & Tupac). Stevie J’s catalog is responsible for the biggest hits during an entire decade only and not to mention after the 90’s.
When I think about the song “I’ll be missing you” and the impact the record has made worldwide and continues to assist in healing the emotional wounds of people, I often wonder the metal state of mind he commanded during those studio moments.
Knowing that B.I.G. was recently buried and the entire world was waiting and needed this record for their eternal playlist. Stevie J, Puff, Faith, 112, & Sauce Money engineered one of the greatest songs of unity in the league of “We are the world.” Everyone in the world felt compelled to mourn and be inspired at the very exact moment.
Once again, the beautiful mind of Stevie J provided the finely detailed production assembly of emotion, chords, guitar strings, blissful sounds, and undertones of Faith and 112 and made history again. But, unfortunately, most people admire, detest, applaud, aspire to, and reject Stevie J every Monday night via VH1.
The television showcases a very small portion of his life. Stevie’s life is an authentic soundtrack, and we’ve only heard a few tracks of his life. In 2016, Stevie J will ascend to new heights and release new musical jewels for the world to love again.
Stevie J is mentally, physically, and spiritually in the best shape of his life, and he’s leaving no stone unturned. Multiple movies, TV shows, business ventures, and more occupy his current and 2016 roll-out calendar.
The infamous Stevie J bus has turned into super-ultra RV, and more people have come aboard for apparent reasons. But, when you closely examine his catalog, journey, sound, music production, Faith, and God-given talent, there can only be one title: “LORD OF THE STRINGS.”
This article was penned by Jonathan P. Wright. Jonathan is a freelance writer for multiple mainstream publications and CVO of RADIOPUSHERS. You can read more of his work by clicking here.
Certain people really inspire my soul and enable me to strive harder for the things I want most out of life. On a cool, brisk Thursday night in Miami, I’m standing on the balcony of my Trésor Ocean View Junior Suite with Lil’ Kim’s “Slippin” track blaring through my SMS Audio wireless speakers. As I transcribe her lyrics in my mind, I gently nod and cosign the truth within the context of her pinpoint delivery. Trust is the most dangerous and valuable commodity in the world. Kimberly Jones has never had a problem speaking the truth and dealing with the aftermath. Before the Grammys, platinum plaques, diva/icon status, Kimberly Denise Jones was expelled from home and running the heartless streets of Brooklyn.
Jones was born in the Bedford-Stuyvesant neighborhood of the New York City borough of Brooklyn, the second child of Linwood Jones and Ruby Jones (now Ruby Jones-Mitchell). She has one older brother named Christopher.
As a child, Jones attended Queen of All Saints Elementary School in Brooklyn. At the age of nine, her parents separated, and Jones was raised by her father, with whom she had a tumultuous relationship.
After being kicked out of her house by her dad, Jones dropped out of high school and alternated between crashing with friends and living on the street.
I changed the track selection to “Quiet” from her Naked Truth album. The beat is pulsating throughout my suite, and I can visualize Lil’ Kim staring into the eyes of her judge without blinking. No fear. Straight Brooklyn! In the early stages of her life, Kim would freestyle with ease and fantasize about having her moment.
I change the track selection again to the song “Durty” and Lil’ Kim starts off saying:
Lil’ Kim stay hot pull up with my nigga in the 80-foot yacht man this hatin’ don’t stop
Real recognize real you studio gangstas kill me
I know my vet’s in the game got to feel me
‘Cause from the gate I brrrr-raaa down the door
Like Eddy Murphy, I gave it to you raw
Two-piece bikini, Fendi mink draggin’ on the floor
Kim been the first lady since I dropped Hard Core
A lot of these hoes livin’ vicariously through me
‘Stead a doin’ them, they’d rather do me
Watchin’ them is like a Broadway play
Sittin’ next to the Queen is the closest they’ll ever get to Brooklyn
Why y’all frontin’ you know who the best be?
I’m the reason why the game so sexy
The originator, the trend creator
Bitch, you dun know you haffa respect me
I’m so lit right now from that intro verse! How can you not treasure the words and unapologetic flow of the real Queen Bee? Purely undeniable.
Jones attended Sarah J. Hale Vocational High School for two and a half years. Many of her friends also went there, and she would often skip school to hang out with them.
Since her schoolwork wasn’t being completed, the decision was made to transfer to Brooklyn College Academy to finish her remaining year and a half of school. It was the same school that fellow rappers Nas and Foxy Brown also attended.
While struggling through her personal life, Jones met The Notorious B.I.G. (real name Christopher Wallace), a key figure in both her personal and artistic life, mainly once Wallace had gained popularity and influence relationship with Bad Boy Records.
In 1994, B.I.G. was instrumental in introducing and promoting the Brooklyn-based group Junior M.A.F.I.A., which included Jones, who was only nineteen. The group’s first and only album, Conspiracy, was released on August 29, 1995, and debuted at number eight on the U.S. Billboard 200 chart, selling 69,000 copies in its first week of release. Three hit singles came from Conspiracy: “Player’s Anthem” (peaked at No. 7 on the Billboard Hot R&B/Hip-Hop Songs chart and No. 2 on the Hot Rap Tracks chart), “I Need You Tonight” (No. 43 R&B, No. 12 Rap), and “Get Money” (No. 17 on the Billboard Hot 100, No. 4 R&B, No. 2 Rap). The R.I.A.A. certified Conspiracy gold on December 6, 1995. “Player’s Anthem” and “Get Money” were certified gold and platinum easily.
In the middle of the wolf pack, Lil’ Kim was still the lone wolf, and the world was now taking notice of her gift. After a year with Junior M.A.F.I.A., Jones began a solo career by making guest performances on R&B albums and recording her debut album, Hard Core, released in November 1996. The album debuted at No. 11 on the Billboard 200, the highest debut for a female rap album at that time, and No. 3 on Billboard’s Top R&B Albums, selling 78,000 copies in its first week of release.
Hard Core was certified double platinum by the R.I.A.A. on March 14, 2001, after being certified gold on January 6, 1997, and platinum on June 3, 1997. The album’s lead single, “No Time,” a duet with Sean “Puff Daddy” Combs, reached the top spot on the Billboard Hot Rap Tracks chart and was certified gold by the R.I.A.A.
The next single, “Crush on You,” reached No. 6 on the Hot 100 and No. 2 on the rap chart. A remix of the album’s track “Not Tonight” saw Jones team up with Missy Elliott, Angie Martinez, Da Brat, and Left Eye of T.L.C. The song was part of the soundtrack to the Martin Lawrence movie Nothing to Lose, nominated for a Grammy Award, and certified platinum. Lil’ Kim is the definition of self-made. On June 27, 2000, she released her second album The Notorious K.I.M. The album marked a new image and revamped look for the rapper.
It debuted at No. 4 on the Billboard 200 and No. 1 on the Hot R&B/Hip-Hop Songs chart, selling 229,000 copies in its first week. It was certified platinum by the R.I.A.A. four weeks after its release. Kimberly Jones survived the sophomore jinx, and her success continued to exceed all public expectations. In 2001, she teamed up with Christina Aguilera, Pink, and Mýa to remake “Lady Marmalade,” which was initially written about a bordello in New Orleans and performed by the group Labelle (which included diva Patti LaBelle) twenty-five years earlier.
The song was recorded for the Moulin Rouge! film soundtrack, released in April 2001, and stayed No. 1 on the Billboard Hot 100 for five weeks. The song also went to No. 1 in fifty countries around the world.
This was a significant accomplishment for female rap and Jones, who scored her first No. 1 Hot 100 hit and became the second solo female rapper in history to hit No. 1 on the Billboard Hot 100 charts. “Lady Marmalade” also garnered Jones her first Grammy Award.
Caliente, blazing, and scorching are just a few adjectives that detail the level of demand and attention Lil’ Kim garnered during the early 2000s. She created an entirely new path for today’s MCs, both female and male, to follow: the freedom of expression in sex and music. Lil’ Kim never allowed anyone or anything to control her visual presentation or audio message to the world. She forced the hand of millions during the Grammys to accept her now-infamous purple pasty, diva/icon Diana Ross issued a physical cosign at that moment on stage.
Givenchy, Versace, Gucci, Louis Vuitton, Marc Jacobs, and more have acknowledged the feisty, fearless, and sexy Brooklynite as the Queen of Hip Hop Fashion Culture.
The sheer influence of her persona is as infectious as the melody in the Dr. Dre track “Nuthin But a G Thang.” Lil’ Kim forced mainstream America to realize that black women can be portrayed as sexy, be sexual role models, run an empire, and not be labeled as shameless or a “hoe.”
I change the track selection for the last time to “Last Day.” An emotional, prophetic, and lyrical masterpiece. Legendary epic rhymes read like this:
Besides God, what the fuck should I fear?
The only one could stop me is that chick in the mirror
I built my career on blood, sweat and tears
And I’m still here, gettin’ stronger each year
‘Cause what don’t kill me could only help build me
I guess all that dirt just made me more filthy
If being loyal’s a crime, then I’m so guilty
If you was missin’ a spine you’d still have to feel me
Some came and went but your girl is everlasting
‘Til the day I’m gasping
And niggaz droppin’ tears on my Versace casket
And I’m reunited with Big like, “Nigga, what happened?”
Shit, got drastic, I missed you with a passion
By now they should realize, I’m not the average rap chick
Ain’t nuttin’ they could do now to stop my shine
This is God’s plan, homey, it ain’t mine
When it’s my last day, then it’s my last day
But until that day you can’t take away
How they scream my name, how I pimp this game
Critically acclaimed until my last day
Kimberly Denise Jones is pop and hip-hop royalty in every aspect. The “GHOST” of Notorious B.I.G. she is and will always be. Even during her twelve-month incarceration, her rainbow of influence beamed through the walls of the Federal Detention Center in Philadelphia, and even the Brooklyn Bridge smiled at one point. Her infamous G status is certified in every borough in N.Y.C. and the streets are always on standby if anyone wants to rumble with the Bee!
I named this article “The Endless Royal Reign of Lil’ Kim” because on June 9, 2014, at 9:58 a.m., she gave birth to Royal Reign, and the dynasty continues. With her legacy and star on the Hollywood Walk of Fame impending, the birth of Royal Reign ensures the next generation will forever know and understand the Naked Truth of Kimberly Denise Jones.
Jhené Aiko celebrated the 4/20 holiday by releasing a brand spanking new video that is eerily appropriate for the occasion. Aiko shares a That 70’s Show-inspired video for her track “Tryna Smoke” from her Chilombo album, highlighting guest appearances from Big Sean and her siblings. She begins to sing on the record about the bliss that comes with smoking excellently:
If I could fly, I’m sure I’d never come down/ With all of the nonsense on the ground, I wish I was high because I can’t live my life when it’s low/ So I’m going to call the bros and tell them to “Roll up one, right now.”
I’m so high, I’m so high-ah-ah/That’s how I get by-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-
Aiko released her third album, Chilombo, last March. She also unveiled a music video for her song “A&B” from the project. The 20-track album includes Ab-Soul, Big Sean, Future, Miguel, Nas, H.E.R., John Legend, and Ty Dolla $ign and peaked at number two on the Billboard 200 with an astonishing 152,000 album-equivalent units sold in the first week. Months later, she made public the album’s deluxe edition.
Jhené has integrated the art of acoustic healing into her music in order to assist listeners in overcoming adversity. “Because I’ve been studying sound healing, I wanted every track on this album to implement an actual, proven healing technique,” she explained in detail. “Not only could people vibe out to it and relate, but it could also help balance out various parts of their bodies, [make them] feel better, and make listening to the songs an experience.”
Queen Naija dropped her debut studio album missunderstood in October, featuring 18 soulful tracks and guest appearances from Toosii, Jacquees, Mulatto, Pretty Vee, Russ, Lucky Daye, Lil Durk, and Kiana Ledé. This month, the Detroit singer-songwriter will release a deluxe edition of missunderstood, dubbed missunderstood…still, that will include seven additional tracks for fans to enjoy.
The Pat McManus, Boston, and Mike Woods-produced “Set Him Up,” for example, features an Ari Lennox guest appearance and sees the two women realizing they’re dating the same man:
“My man wears the same scent; I told him it was my favorite; he just got a new whip, G Wag’ in blue, and we made love in it until the sun came out; wait, were there letters on his plate? Does it begin with the letter L and end with the letter H? Yeah, I believe it does, kid. What are you trying to say?/
You may be perplexed; you’ve probably seen him around town; does he have a tat that says “The Realest” on his neck? Is there a mirror on the ceiling in his room? Is there an ex he used to deal with out West? If your nigga is my nigga, I’m going to kill him…/”
Ari Lennox’s new single “Set Him Up” will be her first since her collaboration with Nasty C on “Black and White,” which appeared on the Coming 2 America compilation Rhythms of Zamunda. Shea Butter Baby (Remix EP), as well as loose cuts like “BUSSIT” (which later appeared on Dreamville’s Revenge of the Dreamers III: Director’s Cut), “If You Want Me To Stay” with Anthony Ramos, “Grounded,” and “Chocolate Pomegranate,” were also released last year. Shea Butter Baby, her official debut, was released in 2019.
RESULTSANDNOHYPE Magazine and MUZIQUE Magazine both reported on this story.
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