Grammy-winning Afrobeats artist, Burna Boy, is on the verge of making history with the announcement of his one-night only show at the world’s most famous arena, Madison Square Garden. Set for April 28, 2022, the performance will see the “African Giant” singer become the first Nigerian artist the headline the iconic venue.
One Night in Space Follows several sold-out performances by Burna Boy at some of the world’s most renowned arenas and music festivals. As part of his 2021 Space Drift tour, Burna Boy has performed in front sold-out crowds at LA’s The Hollywood Bowl, he delivered electrifying performances at the 2021 Global Citizen Festival and The Governor’s Ball, as well as sold out international shows at London’s O2 Arena, Paris’ Accor Arena, Amsterdam’s Ziggo Dome and more venues around the globe.
Burna Boy is also on a musical high as his last two projects, 2019’s Grammy-nominated African Giant and 2020’s Grammy-winningTwice as Tall, have seen him go from a star within the afrobeats community to a legitimate mainstream headliner. While he hasn’t released a body of work in 2021 after releasing projects in consecutive years, he has kept his sound in circulation, collaborating with several diverse and well-known artists. 2021 saw him on the records “I Feel It” with Jon Bellion; “Want It All” featuring Polo G, “Question” ft Don Jazzy, and “Rotate” with Becky G, which featured in Pepsi’s global football campaign “Music Keeps Us Fizzing.” The African Giant also allied with Justin Bieber on the 8x Grammy-nominated album, Justice, and with 9-time Grammy-nominee Sia for “Hey Boy.”
Tickets for One Night in Space will go on sale to the general public at 12pm ET on Friday, December 17th at Ticketmaster.com.
In our current social-economic climate, many gage an artist based on their mainstream success. Did they have a big hit record? Top-selling album? Never mind the fact that outside of the music industry’s true 1%, streaming is a non-factor.
Hence, despite our emotional attachment to art, the music industry is a business and should be handled as such. Take Queens native, Irv Da God (Born Derrick Duke Irvin), for instance. His foray into the music industry was not based on a pipe dream of having a chart-topping hit or selling a million units. Rather, steadily establishing himself through various ventures and building a following.
Fortunately, Irvin’s upbringing during the rugged 90’s era Queens prepared him for an equally — for different reasons — cutthroat world.
As we got older, we all dealt with the obstacles as everyone’s trying to survive, get money. You just had to be always on point [and] never be caught slipping.
As he sheds light on his days as an aspiring hooper running the streets of Queens, it becomes ever apparent that Irvin is a by-product of his environment.
His production company, Block Boy Media, LLC, has directed, filmed, and edited productions for the likes of Dave East, Cam’ron, Chubbie Baby, Coi Leray, Lil Durk, Avianne & Co. Jewelers, among others. Yet, it is a passion that can be traced back to his childhood.
I was really into films since a kid. We had the VHS tapes and I used to drag my mom to the Africans and make her buy all the bootlegs. Back then we didn’t have cellphones, so I would just watch a lot of VHS tapes, I had at least 100 movies.
After being inspired by the countless hours of film study and the budding acting career of his self-admitted “rap superhero” and fellow Queens MC, Sticky Fingaz, Irvin took his hustle to the next level. He saved and enrolled himself into a six-month course at New York Film Academy where soon after he was making money recording and editing music videos for artists, as well as his own productions.
While admittedly a basketball head for large portions of his upbrining, the influence of hip hop is never too far away from inner-city youth.
His label, Block Boy Mafia, Inc, was home to his first studio album, Thirty 3, in 2019 and in 2020, B.B.M. released their first studio collaborative album, Son Day.
Irvin speaks of his Block Boy Mafia family with great hubris, acknowledging their status as family rather than business associates, yet lamented the fact that he seemed to care more about the preparation and overall success of the collective than others. As he matures in the industry, he’s made the conscious decision to prioritize Irv Da God and lay the foundation which he hopes his crew will build upon.
I can keep the family together, but I can’t make the decisions for the family all the time. When everybody has opinions, I have to let everybody be who they want to be.
In Irvin’s eyes, it’s all for the greater good, as he embodies the Block Boy moniker. On the block one would typically hang out with family, close friends and acquaintances and that is how he envisions his long-term success.
I just want to do it with my friends, the people I looked up to, [spent time] around and people we came across in our lifetime.
As he continues to spotlight, Irv Da God, it’s clear that “the block” is never too far away. It was only earlier this year that Irvin teamed up with Onyx’s own, Sticky Fingaz, and Bizkit of B.N.B. to release “Fearless,” a collaborative track made for the Vitor Belfort vs Evander Holyfield boxing match on Triller Fight Club.
Tasked with leadership for long periods of time, Irvin’s relationship with Freddo Starr and Sticky Fingaz feels like a breath of fresh air for the Hollis, Queens native, as Sticky and Freddo are two of hip hop’s most successful rappers-turned-actors.
They’re such good people man and show a lot of brotherly love,” Irvin says of the duo. “I’m a rap artist now and they’re my first rap brothers in the game.
His latest endeavor, a red-carpet appearance at the TrillerVerz battle in Hollywood, CA between Bone-Thugs-N-Harmony and Three 6 Mafia to promote the “Fearless” record, reiterated why he has stood on his family-oriented principles. After a chippy contest, that even included a near-altercation between the two legendary hip hop groups, it was Three 6 Mafia’s camaraderie that won Irvin over, despite being a bigger fan of Bone-Thugs.
People are big into energy nowadays. You can tell which groups are organized and you can tell which ones don’t really deal with each other anymore. You grow together, you have to keep the synergy in alignment, I feel like Juicy J and Three 6 Mafia definitely had the energy, they had the crowd jumping. It was like they were back in time to when the records first hit the club.
As he enters the next phase of his development, Irv Da God is preparing to independently release his sophomore project, Irvin Jackson. A soundtrack album set serve as the score for an upcoming tv series aptly named, Block Boy: Behind The Lights, Irvin is looking to showcase some of the very best from Block Boy Mafia.
I’m just giving people different styles of me. I’m really just showing people the growth of my career and my music. When I first came out, I might have been a little hard and aggressive on my Thirty 3 album. The traction was great, but it doesn’t show my diverse side. I’m not giving people pain, but I’m giving people experience.
As he comes up in the game, Irvin doesn’t seem mystified by the thought of bright lights. Despite being a Las Vegas resident, he keeps his city close to heart and speaks of the relationships he’s made along the way with gratitude. Whether it be Boston Rob for connecting him to Sticky Fingaz, Bronx MC Haddy Racks, A$AP Ferg and Dave East as old friends whose success have inspired him.
One thing people got to understand is that we made it already, everything else is just understanding the business and getting with the right people. These videos and these movies are edited, real life ain’t.
I started dance classes when I was 2, then I was competing around the country when I was six. Dancing, singing, putting on a show, that was my entire life.
Not much has changed for 28-year-old Jersey native, Moxie Raia, in that regard. But in truth, her life can be characterized through her willingness to evolve and adjust. All in the pursuit of her ultimate goal.
At age 13, the “Love Language” singer (born, Laura Raia) convinced her parents to let her attend performing arts school in New York City. From there, Raia — who had been writing songs for years — began to record vocals for the very first time. Thereafter came the industry connections, live shows and meetings with labels.
I have always known that I wanted to do music and be an artist. My parents were really supportive as well.
Since then, the “On My Mind” singer has spent time on the rosters of Capital Records and Def Jam during her early twenties; having recorded, performed and toured with some of the most recognizable names in music. Her debut Dej Jam project, 931 Reloaded (which was a re-release of her independently released EP of the same name), featured the likes of Wyclef Jean, Pusha T and Post Malone, which she got to perform as she served as the opening act during the North American Leg of Justin Bieber’s Purpose World Tour.
Despite her bubbling success, the music industry can be a bit “one-size-fits-all” when it comes to artist presentation, preferring them to fit certain criteria that meet the label’s needs. And at the time, that did not suit Moxie Raia.
I don’t think I was strong enough to express what I really wanted creatively. I would definitely sign to a major again, but I didn’t want to do it before I had this foundation.
The foundation she speaks of is her own development and evolution as an artist. With creative direction no longer a worry, the singer-songwriter has had free will to rebrand the way she sees fit.
One of her newer records, the dark and seductive “Not The One” sees her tap into her sensual side, as she pays homage to the late Aaliyah.
The thing that captivated me most about her [Aaliyah] was how she was so soft and feminine but a Tomboy and strong. That song in particular was a homage to that time and those sounds.
Creatively, Raia feels her niche falls within that dichotomy, the grey area between delicacy and strength. Wanting to portray a sultry, yet dominant presence rather than the damsel in distress image many pop stars carry in the early stages of their careers.
I think I’ve become better at executing my vision and that comes down to confidence and faith.
Her creative freedom can be found through her alter ego, Carbon Girl, a superhero character whom Raia plans to base much of her upcoming EP, 2989, on. Representing the strength Raia is looking to emit through her music.
What drives me most is thinking about being on stage and being connected to 20,000 people at one time. And everybody, for a moment is there with the music, forgetting about their differences, forgetting about what’s going on in their life that may not be ideal, and you just have a moment with people.
With a relaxed, recently awoken tone throughout, Raia remained nonchalant throughout the interview. Until, the topic turned to the reason behind her perseverance in the music industry. It was then that the fervor in her voice could be heard, reacting strongly to the thought of creating music without performing. It became clear that, through nearly two decades of pursuit, one thing has remained the same, Raia’s passion for performance and the cathartic feeling of live performance.
I like making music in my room that I can listen to, but I wouldn’t still be going if that was the motivation. The motivation is those moments.
Staten Island native, Michael Vincent Waller’s latest release — The Lex Luger assisted, CLASSIC$— has re-engineered the way we look at the compatibility between genres, opening new possibilities of unforeseen musical collaborations. A hip-hop album with trap drums and classical symphonies, with trap artists rhyming over it. Two separate worlds coming together, for a harmonious result.
Yet, MVW has always been a hip-hop fan, admittedly listening to the genre “exclusively” during his adolescent years. However, his musical palate broadened when he began to receive piano lessons from his grandmother, establishing a foundation for future endeavors.
His foray into instrumentation did not leave an immediate impact though, as he didn’t develop the urge for playing the piano until his time at NYU.
I didn’t think about music as something I wanted to do, I just loved listening to music. And then when I went to NYU, I saw it was a really artistic place and I was like, I want to play piano.
From there, he switched gears as his musical choices became varied. Indie Rock, Classical and Jazz became the new norm for a budding MVW. As a composer, he’s studied under, La Monte Young, worked with Phill Niblock and has had his music fill venues such as Carnegie Hall, ISSUE Project Room, Roulette and Palais de Tokyo Museum. At the same time, he often listened to Biggie and Wu Tang for inspiration while composing.
MVW’s Evolution
One might wonder what would cause an inherently successful classical composer to switch lanes and produce a hip-hop album, but like the rest of the world, life took a halt for MVW beginning in the spring of 2020. After the cancellation of annual music and film festival, South by Southwest, and being forced to record and produce remotely, Waller began to coordinate his excursion into the world of hip-hop.
After honing his skills remixing electronic records, he sought out platinum-selling producer, Lex Luger (known for his distinct trap drums and use of orchestral sounds) to assist on a remix of his own. The end-product pleased MVW enough to where he thought something bigger could come of it.
CLASSIC$ saw hip-hop and classical worlds combine.
I realized this is more than just a remix, this is something I could actually put to the next level.
Despite the lack of familiarity between the duo, their chemistry wasn’t that of complete strangers but, rather two accomplished musicians looking to expand their repertoire.
I reached out to him, he said he liked the music and I started sending him certain samples that I thought would be perfect for beats and everything he sent back to me was perfect. It wasn’t forced, we didn’t have to overthink it. Everything was organic.
Debut Album
Serving as the executive producer to his own project, MVW had to learn the ins-and-outs of putting together a hip-hop album. Which includes, recruiting artists for features, clearing them with labels (which is a meticulous process of its own) and hiring lawyers to make sure contracts were standard. As MVW stepped away from the role of musical composer for this venture, he picked up the duty of musical conductor, working hard to study chords and song structures to figure out how to turn compositions into convincing trap records.
I worked on the album for 18 months. I would work with the material for long periods of time. I had to arrange it, because I was given feature material, but I had to transform it into a convincing song, given what I had. That was the really creative part for me that I started to enjoy, tapping into the composer side of me.
Despite this being his first and an independently funded rap album, CLASSIC$ features a host of well-known trap artists, who best complimented the minimal drums and snares (Valee, LilGotit, Duke Deuce). While giving important, tone-setting roles to lesser-known artists (Jaydonclover, Shanique Marie).
Valee is the missing link that connects everything, featuring throughout the album
I got everybody who I wanted cleared. But I set practical goals, I didn’t try to get 15 people on the album.
His extensive work in putting the project together gained him an appreciation for the hip hop community, their accepting nature and for staying true to the music.
I was happy to know that people would appreciate my skills, because it can be nerdy. In hip hop if you have a good sound, that’s what they evaluate you on, ‘is it good?’ which is great.
On account of how much time, effort and persistence required to make this album a possibility, MVW does intend to gauge the public’s response. But while many artists refer to streams, charts and general statistics to determine success, he refuses to get bogued down by numbers. And as a hip-hop debutant, he has yet to be tainted by the commercial side of the music business. Instead, relying on the tastemakers of the hip-hop community to glean insight on where CLASSIC$ stands as a body of work.
Putting it out and making it happen, it already feels like a success to me because of how much effort it took and how much it makes it happy. I do it really for me, so I would say on that level it’s a success. The other thing that I’m interested in, is understanding how people respond. To me it’s not about charting, especially as an independent artist. But the fact that people who like and know music respond positively, and frames it to give me something to learn. Even if it’s just for people in the community of hip-hop, that means more to me than one song having a million plays. It’s definitely not trying to be commercial, it’s about art. As long as I can see the art is out in the world, influencing and inspiring people, then that’s a success for me.
For the better part of three decades Grammy-winning musician, Wyclef Jean, has made it his responsibility to not only promote, but bring aid to his embattled homeland of Haiti. Hence, it came as no surprise that ‘Clef was once again up to bringing awareness to Haiti’s latest misfortunes.
Following his performance at Barlclays Center’s “Trillerverz” concert series — where Big Daddy Kane and Krs-One faced off in a Verzuz battle — the Fugees rapper celebrated with a good luck charm to his homeland. Given his history of wearing his flag on his sleeve, it was only fitting that the “Maria Maria” composer — unknowingly — jumpstarted the chain-of-events towards the current philanthropic efforts for Haiti.
It all began a few months ago when, Diane Jean — cousin of Wyclef – purchased “New York Intense” and “New York 5th Avenue” from luxury perfume house, Fragrance Du Bois, to gift ‘Clef. Unbeknownst to them, the high-priced fragrances were stolen from their South Orange, New Jersey location. On the same day of the theft, Diane Jean promptly hopped on a call with Nicola Parker, VP of Sales at Fragrance Du Bois, to secure another shipment of the luxury fragrance. The conversation led to the two discussing the devastating earthquake in Haiti, which prompted the Fragrance Du Bois team to go into action with a pledge to help Haiti.
They aligned with television personality and philanthropist, Bethenny Frankel, the founder of BStrong — a disaster relief initiative that provides real time emergency assistance to individuals and their families in crisis — and chose to raise funds for her charity because of its stellar reputation as a hands-on charity delivering immediate assistance.
So, from October 15 to November 15, 25% of sales from Fragrance Du Bois’ “New York Intense” and “New York 5thAvenue’s” online purchases will be donated to help Haiti.
We are a globally conscious company- our giving personifies the brand’s identity of being for all people. Real luxury is all about giving.
Nicola Parker, VP of Sales at Fragrance Du Bois
Thus, donning a Haitian flag and top hat, Wyclef Jean doused himself in “New York Intense” in front of a packed Barclays Center as a good luck charm to his beloved Haiti and a show of good faith to Fragrance Du Bois, as they embrace the cause that ‘Clef has held dearly to his heart for so long.
DJ Super Cat then doused the stage with “New York Intense” and yelled to the audience: “help Haiti!”
To purchase “New York Intense” or “New York 5th Avenue” online, click here.
The anonymous owners of the one-of-a-kind Wu Tang Clan album have been revealed. Once Upon a Time in Shaolin — formerly owned by disgraced hedge fund manager and pharmaceutical executive, Martin Shkreli, before being convicted of securities fraud — was seized in 2018 and recently sold by the U.S. government as a part of a $7.4 million forfeiture judgement.
After Shkreli was forced to sell the album, the original buyers were kept hidden from the public, with the sale being handled by NYC based lawyer, Peter Coolidge, who revealed that he has been one of the very few to listen to the project.
It didn’t disappoint at all. It was pretty reminiscent of the ‘90s stuff. The first album was really good. All the first solo albums were good, like, Return to the 36 Chambers, Liquid Swords, Ironman, Only Built 4 Cuban Linx, whatever,” he said. “And then they did some albums after that, that were perhaps not their best work. But this is like, up there with the best stuff.
Now, the new owners of the suis generis album have been revealed to be NFT investment collective, PleasrDAO. The group revealed itself as the anonymous entity that purchased the album from the federal government in July for a reported $4 million.
While Shkreli clashed with Wu Tang Clan almost immediately after purchasing the album, the new owners — who specialize in digitized art — may have more consumer-friendly plans in mind. While the album comes with a ton of contractual limitations (It can’t be commercially released until 2103; it can’t be remixed or recorded; and it can’t be played in front of large audiences, streamed, or even broadcast online), PleasrDAO Chief Pleasing Officer, Jamis Johnson, revealed to Rolling Stone plans to “bring the album back to the people.” With plans to curate listening parties throughout the world that will allow the general public a chance to hear the
They bonded together to form a collective more powerful than any individual had on their own. Fuck these middlemen for taking all the money that should be going to the artists perfectly aligns with the ethos of crypto.
Despite the limitations imposed on the album, PleasrDAO believe they have the same interests of the Clan, who began to encourage the album being made available on a wider scale as their dissatisfaction with Shkreli grew.
Eccentricity can be an unsettling space to operate in. But, like most frantic states , when harnessed it can bring about thought-provoking, abstract art. Such is the case with Queens-based rapper, DJ, and producer, X.ILE (born, Xavier Maymi).
Having shared the stage with artists such as The Chainsmokers, Meek Mill, French Montana and more, the jack-of-all-trades emcee has begun his ascension into the world of recording artists. His own solo work has garnered attention from established tastemakers. His records, “Buffalo” and “Carnota” were both featured on Eminem’s Sirius XM station Shade 45 and its flagship program Sway in The Morning, while “JAM” featured on SiriusXM HipHop Nation’s Discovery Channel.
Beginning his career at the age of 14, he has placed himself in a position to grow as an artist with many years invested into his craft. But, in an era where all it takes is a large social media following to get a record contract, he hasn’t stagnated, taking the old-school route of self-improvement and variation to achieving his goals. His resourcefulness when it comes to his music videos (which aren’t high budget but remain action packed), is a testament to his dedication to the craft of being an entertainer. Many artists drop a record and hope for the best, X.ILE is looking to tell a story through his music and visuals are a big part of that process.
Unafraid to foster an environment where all genres can coexist throughout his music, X.ILE does not rely on flashiness, nor tall tales of grand living. Much like his diversified sound, X.ILE’s appeal comes from the many ways he can impact a listener. Even if you’re not a fan of his rapping, you’re sure to enjoy his well-thought out, over-the-top visuals, which tend to look like controlled chaos. If not, then his production might get you.
His latest record, “BLEACH,” perfectly encapsulates his artistry. The record itself feels oxymoronic, beginning with a simple acoustic guitar before all hell breaking loose. Featuring different voice inflections, various flows, drum patterns and instrumentation. It can feel like a lot is going on, until realizing the anarchy throughout the production reflects the record itself, as he ties it all in with a music video equally full of pandemonium.
The serenity at the beginning of the record can be interpreted as the calm before the storm that is life. Filmed in the woods, X.ILE is seen in a serene environment holding just an acoustic guitar and a bottle of bleach. He then goes into a solemn spiel about how his need to be liked consumes him, more so than money, fame and even his rent. After taking a swig of the bleach, utter musical and visual chaos ensues, before returning to the same woods bloodied with his guitar broken. X.ILE takes another chug of the germicide, insinuating that after all the heartache and chaos, all we want is for our troubles to evaporate, which is what the bleach seems to represent. Now, bleach can’t get rid of anyone’s troubles, but as a fatal chemical, to some, it may be one-in-the-same.
Opposites come together for a harmonious result on the first collab album between classical music composer, Michael Vincent Waller (MVW) and multi-platinum hip-hop producer, Lex Luger. Together, the duo combine to release a one-of-a-kind project. The 8-song LP sees them explore a sub-genre that has yet to be saturated and could possibly be the foundation for a brand-new wave of innovation.
The combination of course is the fusion between elements of classical and trap music where the former, which is considered formal, traditional and tedious, meets the laid-back, seemingly careless and braggadocious sub-genre of trap music.
I want to take the same attention to detail associated with classical and chamber music and apply it to one of the most viable, listenable, and casual genres, i.e. trap. It’s got freshness and energy, but there are a whole bunch of nuances and details you don’t typically hear in modern rap. I’m trying to take the best of both worlds.
MVW
Hailing from Staten Island, MVW has always been a hip-hop enthusiast and he developed a passion for classic hip-hop such as Wu Tang Clan, The Notorious B.I.G. and A Tribe Called Quest. As a classical composer, his music filled venues such as Carnegie Hall, ISSUE Project Room, Rouleee and Palais de Tokyo Museum. At the same time, he often listened to Biggie and Wu Tang for inspiration while composing.
When he began making his foray into the world of hip hop, he recruited Lex Luger to play his counterpart. Although the “Round Of Applause” producer is diversified in his own right, his production still contains trap elements (such as his distinctive snare drum and ihats) that make his presence on CLASSIC$ invaluable.
Working on this project was definitely a little challenging. Being in a comfortable zone is cool, but nothing ever grows there. That being said, working on this project helped me try new things and ultimately, I feel like it just made me a better producer.
Lex Lugor
The album is curated with artists that not only correspond with the suis generis blend of styles but thrive on it. Jamaican artist, Shanique Marie, brings much-needed energy. Southern Songstress, Jaydonclover — whom MVW discovered from a WIRE Magazine review — is featured on three of the tracks and since the classical instrumentation already perpetuates a solemn feel, her soulful croons become one with the music. Trap connoisseurs Duke Deuce and Lil Gotit also make appearances, while Good Music artist, Valee — who is featured throughout the album — is the missing link that connects everything, effortlessly riding each beat as he maintains the California cool of a long beach surfer with each luxurious idiom he drops.
I’ve been composing for 15 years, but I’ve been listening to hip-hop for 20 years. Somehow, they inform each other in my head. This project was a long-time brewing. I’m coming full circle
An old saying — part marketing tool, part observation based on the group’s lyrical content — “Wu Tang is for the Children” is proving itself to be true after all. Throughout their decorated history, the Wu Tang Clan has impacted music, culture, television, fashion and now — nearly 30 years after their debut — the Clan is still impacting today’s school-children.
As first reported in NYSUT UNITED, the Wu have developed a new legion of followers and they refer to themselves as the “Depew-Tang Clan.” Amidst the pandemic, Depew Middle School teacher, Joe Cena, noticed that less than half of his eight grade students were completing their independent reading requirements. As remote learning conditions prevented teachers from having a hands-on connection with their students, Cena acted desperately.
To motivate students, Cena created a prestigious “Wu Wall” where students would earn a spot whenever they completed an assignment or quiz. Cena didn’t stop there, he also ordered a bunch of Wu Tang themed stickers and magnets, took pictures of the children and used an online name generator to give them their official Wu Tang Clan names.
As silly as it is, it definitely increased their motivation to read books.
Joe Cena
The Wu’s impact on Depew Middle School didn’t end there, as Cena began to explain the art of rhyming to the children using verses from the Clan. As part of the poetry unit, he presented the song “Triumph” with color-coded lyrics to explain the intricacies of rhyme patterns.
Although Depew operates inconspicuously as part of the Buffalo-Niagara Falls metropolis, Cena’s innovate and creative efforts to motivate his students did not go unnoticed.
As part of an effort to have Cena recognized, student, Aleigha Sharpe, secretly reached out to several members of the Clan. Writing,
As everyone knows, due to COVID-19 school hasn’t been the same. But my English teacher has put so much effort to make this year for his students the best and memorable.
Aleigha Sharpe
Unsure if she would get a reply, Sharpe was shocked to receive a personalized message from Method Man himself, shouting out the Depew Middle School and Joe Cena. The Ticallian Stallion even bestowed Cena with his own personalized Wu nickname, labeling him, “Excessive Gallant,” as he congratulated the teacher for his continued efforts towards educating the children.
I want to shout out Depew-Tang Clan… and also especially Joe Cena. AKA Excessive Gallant. I love what you are doing over there. You’re keeping learning fun and you’re including Wu – Tang. Salute to you, brother. Hats off!
Method Man
Cena’s students presented him with the Method Man response video and the English teacher was visibly touched from the gesture. Holding back a smile and plenty of emotions, Cena was in disbelief to hear Method Man say his name.
As they say, California knows how to party and Super Bowl 56 in the Los Angeles Rams SoFi stadium will be bringing the city its largest festivities to date. Jay – Z and Roc Nation’s partnership with the NFL to handle all the league’s most important music events — including the halftime show — has resulted in what is possibly the most star-studded halftime presentation ever.
In unprecedented fashion, Roc Nation and the NFL have announced five headliners for the annual extravaganza. The show will feature iconic producer Dr. Dre, the highest-selling rapper of all-time in Eminem, The Doggfather, Snoop Dogg, one of the most influential rappers of his generation in Kendrick Lamar and the queen of R &B, Mary J. Blige.
In a statement released with the news, Jay – Z echoed the sentiments.
On February 13, 2022, at the Super Bowl, Dr. Dre, a musical visionary from Compton; Snoop Dogg, an icon from Long Beach; and Kendrick Lamar, a young musical pioneer in his own right, also from Compton; will take center field for a performance of a lifetime. They will be joined by the lyrical genius, Eminem; and the timeless Queen, Mary J. Blige … This is history in the making.
The quintet of legendary acts have amassed 43 Grammy wins and 154 nominations amongst them and with their close association (Dr. Dre has worked extensively worked with Mary J. Blige and mentored Eminem, Snoop Dogg and Kendrick Lamar musically, along with the Death Row ties between Mary J., Snoop and Dre) there should be plenty of chemistry on stage. They will be able to seamlessly perform each other’s songs and have enough Billboard charting records to keep the crowd hanging on to every word.
The opportunity to perform at the Super Bowl halftime show, and to do it in my own backyard, will be one of the biggest thrills of my career,
Dr Dre said in a statement
I’m grateful to Jay-Z, Roc Nation, the NFL, and Pepsi as well as Snoop Dogg, Eminem, Mary J. Blige and Kendrick Lamar for joining me in what will be an unforgettable cultural moment.
Super Bowl 56 will be held on Sunday, February 13, 2022, and will feature the winners of the AFC and NFC championships, with the hosting team a serious contender to appear in the big game.
