The Mayback Music Group constituent just dropped the FreeStalley record, “Chevys and Spaceships.” The Ohio emcee was recently added to Rick Ross’ MMG’s roster in April, also home to artists Wale, Pill and Meek Mill. MMG’s Self Made compilation also debuted today. Read more for a stream and download of “Chevys and Spaceships.”

What do you think of “Chevys and Spaceships,” does Stalley have a winner?

Remember The Weeknd? He’s the Canadian crooner who had the blogosphere and music critics a flutter with the release of his debut project, House of Balloons. To our contentment, Mr. Tesfaye has released a video for his single, “What You Need.” Don’t expect The Weeknd to make an on-screen appearance though, actor Wesley Jonathan is the star of this project. Read more to peep the visuals.

Studio Life: Big K.R.I.T. Album Listening Party for “Return of 4Eva” from 3 Little Digs on Vimeo.

Fresh off performing at arts festival, SXSW, rap newcomer, Big K.R.I.T.—King Remembered in Time—just dropped his latest project, Return of 4eva, to a bevy of anticipating fans. Return of 4eva is a welcomed follow-up to his critically acclaimed album, K.R.I.T. Wuz Here, and was trending on Twitter in Atlanta, Houston, Washington, D.C. and even New York.  Read more for a stream and free download.

“I am proud to present “Return Of 4eva” to all my supporters, I took the past year to work on this project,” said K.R.I.T.

“I reached out to some of my favorite artists that I felt represented what this album was about. Ludacris, Bun B, David Banner, Chamillionaire, Big Sant, Joi and Raheem Devaughn all helped me to make my vision of this album complete.”

Big K.R.I.T. – ReturnOf4Eva by Q-CA

Big K.R.I.T. – Return of 4eva | Download Here

Photo courtesy of hiphollywood.com

Philadelphia singer/songwriter, Jazmine Sullivan just announced that she will be taking a break from making music this evening via twitter. Sullivan, 23, is currently signed to J Records and has been making waves with Grammy nods and hit singles including, “Need U Bad” and “Lions and Tigers and Bears.” Read more for Jazmine Sullivan’s (@jsullivanmusic) tweets.

Baller Carmelo Anthony has teamed up with Krossover Entertainment to produce mixtape, Become Legendary. The mixtape features Nas, Ghostface Killah, Bun B, Jadakiss, MC Lyte and  Shawn Chrystopher among others. Download and tracklist after the jump!

01 Michael Jordan – Become Legendary
02 Bun B – Mastamind f. Diego Cash, Steel Bill & Scotty
03 Nas – Foul Breeze
04 Jadakiss – Goes Up f. Diego Cash
05 Styles P – M7?s
06 N.O.R.E. – Legendary f. Al Gator, Diego Cash & Mr. Kane
07 Young Dro – I’m On It
08 MC Lyte – Rockin’ With The Best
09 Young Dre – The Illest f. Nipsey Hussle & Bad Lucc
10 Ghostface Killah – The Eulogy f. Sheek Louch, Diego Cash & Bully
11 Tru Life – Stand Up f. Jay-Z
12 Cavi – Look How Far We Came f. PO & Omega
13 Cassidy – Hypnotized f. Diego Cash
14 Saigon – You Make Me Sick
15 SouthSide – Shoot You
16 Trifelon – Make ‘em All Come Out
17 Shawn Chrys – Catch Me If You Can
18 Jody Breeze – Rookie Of The Year
19 Big A & Al Gator – Jordan
20 Big Sean – Poster
21 2 Much – Here To Rock
22 Cavi – Become Legendary f. Diego Cash & Ja Miss
23 Al Gator – M7?s Freestyle

Carmelo Anthony – Become Legendary | Download Here

Photo: straightfromthea.com

All the ladies in the place with the real hair, where you at?! / Hit the dance floor girl, do your freaky freaky dance

Trey’s back at it and this time with Swizz Beatz. Unfortunately, the DJ is all over this one. Showtime.

Kylee Coney gives Marsha Ambrosius’ mixtape, Yours Sincerely a first listen.

Words by Kylee Coney

Her voice is unforgettable. Once you hear the way she effortlessly runs through octaves with her signature tone, you automatically recognize Marsha Ambrosius.  Ambrosius became famously known as the songstress of the popular R&B duo Floetry. Floetry’s debut album Floetic released in 2002, with songs “Say Yes” and “Getting Late.” As a solo artist, Ambrosius has collaborated with artists such as Nas, The Game, Jamie Foxx, Busta Rhymes and Wale. She has recently signed with Sony/BMG distributed label J Records. On February 20, 2010 Marsha Ambrosius dropped her eight-track long mixtape Yours Sincerely that showcased her femininity, sensuality, and her walk with love. Her first solo album is expected to be released June 2010.

1)     “Intro”- “How do I get through to you? I don’t know what to say to make you see how much I want you.” Ambrosius starts the mixtape off bold, proclaiming her heated and strong desire for her lover with strong vocals and a slow rhythmic ballad.

2)     “Let Me Go”- Two words: control freak-literally. Ambrosius sings of her vulnerability and compassion for this one guy.

3)     “Put it on Repeat”- “You’re like a ski-ski-skipping record, stay on repeat, can’t get you out my head.” She reveals how she is uncontrollably in love and wants to replay pieces of their relationship over and over again. The animated up-beat tempo makes you want to sing along, and Ambrosius’ playful tone towards the end of the song is contagious (“…my name is Marsha Ambrosius, I’m supercalifragilisticexpialidocious”).

4)     “She Don’t Matter”- This is a song that tells of the irrelevance of the “other girl.” Ambrosius pleads with her lover to let the other woman go, telling him that she could never love him as much as she does.

5)     “This Love”- Ambrosius collaborates with Glenn Lewis for a duet that reminisces on a love that is no more. The song resonates sadness from both singers who seem to be in a confusing relationship- caught between the greatness of the past and the broken state of their present. Ambrosius’ soprano voice and Lewis’ mellow high-tenor voice create a captivating combination for listeners.

6)     “Storm”- Maybe we all think we’re tougher than what we really are. Ambrosius admits that she talks a good talk but is not strong enough to survive if her lover left her.  “No shelter is big enough to protect my broken heart, please don’t leave me in this storm”.

7)     “Glass”- This song expresses the hurt that she has been through in all her relationships. She exposes a different perspective of herself, insisting she is more fragile than most may believe. Ambrosius sings “I’m like glass” accompanied with harmonious guitar and piano instrumentals that add to the song’s intensity and sensitivity.

8)     “Take Care”- Ambrosius is obviously anxious to see that special someone. She sings of how she wants her lover to hurry up and get home so he can take care of her. Ahhh, selfless love.

NPR has released their list of the 50 Most Important Recordings of The Decade. Rap and R&B only accounted for about a dozen and included albums from the usual suspects, Jay-Z and Beyonce as well as the less expected, Little Brother. See the complete list after the jump.

The 50 Most Important Recordings Of The Decade

01. John Adams: On The Transmigration Of Souls
02. Animal Collective: Merriweather Post Pavilion
03. The Arcade Fire: Funeral
04. The Bad Plus: These Are The Vistas
05. Beyonce: Dangerously In Love
06. Bon Iver: For Emma, Forever Ago
07. Bright Eyes: I’m Wide Awake, It’s Morning
08. Burial: Untrue
09. Clap Your Hands Say Yeah: S/T
10. Kelly Clarkson: Breakaway
11. Coldplay: A Rush Of Blood To The Head
12. Danger Mouse: The Grey Album
13. Death Cab For Cutie: Transatlanticism
14. The Decemberists: The Crane Wife
15. Eminem: The Marshall Mathers LP
16. The Flaming Lips: Yoshimi Battles The Pink Robots
17. Osvaldo Golijov: La Pasión Segun San Marcos (Saint Mark’s Passion)
18. Green Day: American Idiot
19. Iron And Wine: Our Endless Numbered Days
20. Jay-Z: The Blueprint
21. Norah Jones: Come Away With Me
22. Juanes: Fijate Bien
23. LCD Soundsystem: Sound Of Silver
24. Lil’ Wayne: Tha Carter III
25. Little Brother: The Listening
26. M.I.A.: Kala
27. Yo-Yo Ma: Silk Road Journeys: When Strangers Meet
28. Mastodon: Black Stars
29. Jason Moran: Black Stars
30. OutKast: Stankonia
31. Brad Paisley: 5th Gear
32. Panda Bear: Person Pitch
33. Robert Plant & Alison Krauss: The Rising
34. The Postal Service: Give Up
35. Radiohead: In Rainbows
36. Radiohead: Kid A
37. Shakira: Fijación Oral, Vol. 1
38. Sigur Ros: ( )
39. Britney Spears: In The Zone
40. Sufjan Stevens: Illinois
41. The Strokes: Is This It
42. The Swell Season: Once Soundtrack
43. Ali Farka Toure & Toumani Diabate: In The Heart of the Moon
44. TV On The Radio: Return To Cookie Mountain
45. Various: Garden State Soundtrack
46. Various: O Brother, Where Art Thou? Soundtrack
47. Kanye West: The College Dropout
48. The White Stripes: White Blood Cells
49. Wilco: Yankee Hotel Foxtrot
50. Amy Winehouse: Back To Black

We think some notables are missing from the list, what do you think?

Click HERE to get on the list.

25 Magazine’s Tray Laws gives Melanie Fiona’s debut album The Bridge, a first listen.

Words by Tray Laws

New artist Melanie Fiona has the vintage soul vibe of the classic Motown era yet she still possesses the flavor to capture today’s hip-hop focused audience. This past July, Fiona’s hip-hop tastes were previewed on The Bridge mixtape she recorded with DJ Questlove, a live mix of songs from her then upcoming LP, and even Kanye West’s “Heartless.” Now Melanie Fiona shows how well she bridges today’s R&B, classic soul, reggae, and hip-hop on her debut album, The Bridge released on Universal Motown. The Canadian soul singer’s first single “Give it To Me Right,” leads an album filled with songs of life, love, and heartache. On the track “Monday Morning” Melanie belts about personal growth and moving on to pursue her dreams, and on “Teach Him” Melanie assures her lover some love he never felt before. The Bridge is a delightful compilation of deep stirring songs sung with passionate note worthy vocals; definitely a bridge worth crossing.

1. “Give It To Me Right”: Melanie Fiona sings with strong lyrics that drip with sexiness. The vocals are fresh, inviting, and compliment the beat. She doesn’t want it all the time, but when she does…give it to her right.

2. “Bang Bang”: A renegade’s theme song. This track definitely has a rock vibe. The vocals pair well with the beat.

3. “Monday Morning”: Once you have outgrown a place it’s time to move on. This track has a classic soul vibe. The harmonies are reminiscent of the girl groups of the Motown Era yet it’s still hip and relatable.

4. “Please Don’t Go (Cry Baby)”: On this track Fiona provides more of that Motown flavor singing about a love she wants to stay. She sounds amazing; however, the track is boring.

5. “Ay Yo”: This track provides insight on Fiona and why she decided to sing. A motivational song. The beat sounds familiar, and the vocals sound sincere.

6. “Walk on By”: Church is the first thing that comes to mind. Then once the beat drops it sounds country. This track is about a love that did her wrong and she wants him to pay for it.

7. “You Stop My Heart”: Another track with a vintage sound. The vocals sound good, but it’s starting to sound the same.

8. “Johnny”: The movie “Grease” is the first thought that comes to mind. Although the track is up tempo she sings about a love lost that draws you in and then you find yourself tapping your feet.

9. “Sad Songs”: Another track about love gone wrong. She vocally sounds great on this song, and the island vibe of this song is enjoyable.

10. “Priceless”: The song about love that is-priceless. This is the first song that sounds like her and not like some other era of music. The vocals are fresh and make me want to find a priceless love to sing about me.

11. “It Kills Me”: Fiona slows the pace down on with track. This track is relatable because so many people go through an unfaithful relationship that they may not want to give up.

12. “Teach Him”: The album closes with a sultry track about a man that needs a little love. Fiona sings of teaching him about the good side of love.

The cover art for for Jay-Z’s recent LP, Blueprint 3, was hardly a Photoshop effort. Photographer Dan Tobin Smith actually built the white instruments structure and painted on the red stripes. Check out the behind-the- scenes video after the jump!

Check out Rhapsody’s latest commercial chronicling Jay-Z’s catalog over the years though his album covers.

25 Magazine recaps VH1′s “Behind the Music: Lil Wayne”

VH1 series “Behind the Music,” has finally returned with a new emphasis on rap artists. The series kicked off with the “reigning king” of hip-hop, Dwayne Carter, better known as Lil Wayne. The narcotic driven artist gives the VH1 staff insight on his childhood in New Orleans, family, career, and reckless behavior. Wayne found music to be his inspiration and began with Cash Money at the age of 9, then heightened his fame with the renowned Hot Boys, and eventually went solo with his debut album The Block is Hot in 1999. Once he stopped writing all his lyrics down, Wayne took his music more seriously. “When I stopped writing, I’ve noticed that everything was real now, I can’t speak about nothing than what was real because I can’t write nothing,” Carter says.

From then on, he pulled everything out of his head and was on the path to becoming a true icon. Few have known Mr. Carter to ever be over the influence. He attributes his  initiation to drugs at the age of 11 for his addiction. Wayne’s life is interesting, though not nearly as hardcore as he portrays it to be in his music. However, he did face some trials, from accidently shooting himself roughly a centimeter away from his heart and losing his childhood to the devastating Hurricane Katrina tearing apart his hometown.

“In 27 short years, Lil Wayne has already lived a lifetime of tragedy and triumph, and while his future remains uncertain, one thing is clear: He has no intentions of slowing down.”

50 Cent is in transition. He’s perched on the cement roof of Camp Curtis in Manhattan with sidekick and G-Unit kinsman Tony Yayo at his back while a reality television show cartel anxiously anticipate his next move. The entrepreneur dons a navy pinstripe three-piece, royal blue tie and air of austere discontent. It is the pilot episode of his MTV reality television show “The Money and the Power” and Mr. Jackson is deliberating eliminations in an effort to teach his novice cast an important lesson in business.  He approaches the feisty contestant Precious, jaw clenched, perhaps too close for comfort, and stares intently into her eyes. To everyone’s surprise, Fifty decides to send home her faulty team leader, saving Precious from an early elimination—Instinct. Since the 2003 release of his freshman LP, Get Rich or Die Tryin’, 50 has been fervently dishing out business advice to anyone who’d listen, and after topping Forbes’ 2008 “Hip Hop Rich List” (he tied with Akon at No. 4 in 2009), the world is all ears.

Fifty’s first lesson in business—invest smart and early. In 2004, he purchased equity in Glacéau and launched his own brand of VitaminWater, Formula 50. In 2007, Coca Cola acquired Glacéau in a $4.1 billion deal, leaving Curtis Jackson with an estimated profit of up to $400 million and continued partnership as the “Air Jordan of VitaminWater.”

His second lesson—no concessions. Despite extensive promotions, 50 Cent rescheduled the release of his third album Curtis in order to maximize on both U.S. and international sales in 2007 and reaped 5 million copies sold worldwide in the face of the dwindling music industry.  The shaky economy set up 2008 winter releases for financial failure and prompted Fifty to push his fourth solo project Before I Self Destruct to February 2009 and later September 29, 2009, promoting the LP with extensive radio play, single releases and download specials.

As for Fifty’s third lesson, you’ll have to buy the book—The 50^th Law; A Robert Greene collaborative project and 48 Laws of Power spin-off in stores today and lofty addition to Fif’s bevy of endorsements and products. In the past two years, Jackson earned over $170 million (Jay-Z  earned 30% less at $117 million) and has proved himself a savvy businessman despite what corporate considers a misleading thug-posturing music persona. He’s garnered money and power with his triumph of the entertainment industry and now that he’s risen to the top—is after our respect.

25 Magazine: Rumors are spreading like crazy on the value of the 50 brand but they’re all conflicting, how much are you really worth?

50: Like my net worth? I don’t even know. After taxes and everything we’ll figure it out. I mean as far as the companies I haven’t sold already you know what I mean? When you build, the object is to build the companies up to the point that you can actually sell em. [I] don’t want to underestimate or overestimate you know. If I overestimate then people gon say I was frontin’ and if I underestimate they say I’m just giving you a bullshit answer.

25: Hmmm, well it is without a doubt you’re doing well. Do you have plans to expand your brand further?

50: Oh absolutely. I mean I think that’s the big portion of what we do that artists miss. We’re in the music business. I think they just get stuck with music.  And they never know the business when they trying [to] make the type of interest to have the type of popularity and celebrity that’s involved. The marketing that was done and being spent on an actual artist…I just think that applies to my personal interests. I’ll make a commitment to VitaminWater as opposed to an alcoholic beverage because it’s more, a more visible representation of my lifestyle. I’m really health conscious.

25: Word on the street or the internet rather, is that you made the right choice investing in Glaceau. Do you ever feel the pressure succeed this hit or miss industry?

50: Well yea. On every level I feel pressure to succeed you know but not just from the label, from myself.  You know when you got the entire art form down 30% of course I like to be the turning point for a positive. You know what I mean, where you actually start selling records again based on a new album. But if not there ain’t much to look forward to so I mean while you got people out there that’d like to see me do bad, they can [revel in] the bad, they can also forget about their chances of making a successful career for themselves and this art form.

25: Rap sales have been down yet the interest still seems to be growing. Who do you truly feel dictates the trends in Hip Hop, the artists or the corporations?

50: I think the artists do but corporations, I mean ultimately the corporations do but artists they gotta turn their music in you know what I’m saying? The problem with Hip Hop right now is that no real artist control; there’s no creative control. They used to have, the A&R department used to be a lot stronger where they would help create a creative direction with the artist and now it’s like an artist will come in and if they got one good record they might get signed for that record…And do the single, I mean if the single works, ringtone will pay for your album. Now you give an artist in there a really good record…and it was a really good record you say okay well we got a single, all you gotta do is go in the studio mix and master the single, put the single out. If the single connects, the ringtone can earn enough to support them giving you a budget to create your album.

25: No more albums?! Seems as though artists are getting the short end of the deal. What would you consider your biggest grievance with the music industry?

50: You know what it is. You got a lot of people that don’t actually from an artist perspective…because you see an artist, you create all type of envy and negative energy for other artists because I come from an artist standpoint but these artists don’t actually wanna learn the business.

What I dislike the most about the music business is rappers see everyone else who actually raps as their peer. Even if you work yourself into a different space in business and financially they still see you as their peer so they begin to envy your space instead of just build on their own energy because Hip Hop is so competitive that the artists utilize whoever is in a good scene as a target or their competition. You understand what I’m saying? You know and I deal with that constantly and I feel like this like about this particular art form and I don’t think R&B artists don’t well…they don’t respond the same way like they don’t say. Like I don’t see um Pink saying “fuck Ne-Yo” you know what I’m saying because his record is good you know and that’s what happens in  Hip Hop space, so it’s different like that’s the only portion about the hip hop genre of music that you know ours is a little different.

25: Speaking of understanding the business, do you own your publishing? How important do you feel it is for an artist to own their publishing rights and side business ventures?

50: Yes I do. Well it depends on where that artist is at financially or what kind of deal they actually do it in. If you wanna do it in an Administrative deal it’s somewhat you know like a lot they held on to all the publishing and didn’t have anybody involved with collecting all their publishing then they probably wouldn’t pay the money they were supposed to pay anyway.

25: Well you have been doing pretty well for yourself, did you ever anticipate this much success?

50: I always had big ambitions. Big dreams you know what I’m saying. Well I always envision things. What I mean by that is before I used to think of something and just sit there and just be thinking of it. That’s dreaming. When you come up with something and you start figuring out how to execute it. That’s envisioning you know you’re actually attempting to execute it you know I take my idea and I roll with them.

25:  You came from humble beginnings, as a Black entrepreneur do you feel a responsibility to give back to the community?

50: Well I think everybody should, that’s in a position where they could actually do it. You know I come from the bottom so to be able to provide something that wasn’t provided to me to help someone else life experience or a small piece of it. I ain’t doing so much where I’m altering their life totally you know what I mean. To me the biggest donation is making a small dent in what needs to be done. You know so I guess… as far as all of the charitable things I’ve been involved in I didn’t want to create a non for profit organization I feel like that would be me running a whole ‘nother business. Because that is a business you know what I’m saying like there’s a lot involved in having a non for profit so what I did is I set up the G-Unity Foundation where I could actually take proceeds and my donation and donate to other existing charities.

25: Do you think other artists are contributing enough?

50: I think the ones that can are.  You know I think a lot of them…I think the perception of Hip Hop artists is a lot greater than they actually are and it’s because of what they see on television like rappers be superheroes within themselves you know they rap about the coolest stuff. It’s the lifestyle that they aspire to have. You know sometimes you gotta fake it until you make it. You know and that’s what they doing so there will be a lot more money around than there actually is and because they aspire to live life on the highest level they splurge early. So you see them with the nice cars when you see them in passing and big jewelry and everything else on and you think wow this guy is rich when he really doesn’t have a lot. He did what would be visible to make people get that impression but they don’t actually have it.

25: Where do you see yourself in 5-10 years, music or business?

50: In ten for sure more in business. I’d be 44 years old. You know, not rapping. By 44, I will behind-the-scenes more.

25: Do you think you’ll ever settle down?

50: Well I can’t predict the future but I’d say right now to answer that question I’d say I see myself in business at 42. I know people who have families and they conduct, at a different pace but they still have businesses so and right now I’m off and running. I’m going to do what I got to do to sell a record and do different things but… after then everything starts to mellow down a little bit.

Hip hop is tired of being hip-hop. Kanye is diving further into fashion, Lil’ Wayne is engaged in a torrid affair with rock & roll, and everyday a new rapper starts a film career. Some fans claim that artists need to branch out creatively to express themselves, while some cynics scream that strolling down every media avenue is just a shrewd attempt at getting rich. Whatever the case, spreading talent too thin leads to a decline in quality music. Cliché rants about Hip hop being dead come to mind. Just as we were all beginning to dread flipping on the radio, fresh voices are pumping in new blood to revive the music industry.

Such is the case with U-N-I, a rap duo hailing from Los Angeles, California. Their music seems to immediately connect with people. After releasing their first mixtape, Fried Chicken and Watermelon in 2007, U-N-I has been receiving increasing amounts of recognition from both listeners and the press, with growing coverage and performance opportunities. Avid rap heads have greeted each offering with the same greedy anticipation. Their follow-up mixtape Before There Was Love caused the blogosphere to ignite with reviews and promises of free downloads, and their latest musical contribution, A Love Supreme, which features the insanely catchy single “Hollywood Hiatus” enjoyed a similar welcome.

The men behind the music are members, Yonas “Y-O” Micheal and Yannick “Thurzday”Koffi. They met in high school in 1999. After realizing their mutual love of music, they began to devote their lunch periods to defeating cocky upperclassmen in rap battles. They soon joined a four-man group called Rap-Ture Kamp, but in 2006 they splintered off and began to work together. They derived their name from The Roots’ track “UNIverse at War,” one of their favorites, and have been sprinting after their shared goal of rap fame ever since, using mixtapes and performances to get them closer to their dreams.

They have made significant progress. Not only have their Google hits risen to internet-celebrity status, but their developing resume includes making Billboard Magazine’s “Acts to Watch” list and the 2008 MTV Video Music Awards “Best Breakout LA Artist” award.

Although this heightened interest in the duo means they are successfully breaking into the music industry, it also leaves room for lazy comparisons and knee-jerk expectations. Some take a glance at U-N-I’s mutual appreciation for bright colors and Y-O’s mohawk and instantly label them as “hipsters.” Others immediately assume that they will spout the g-funk that is heavily associated with the Los Angeles area. However they seem to be different, more honest. Their music centers on their individual memories, goals, shoe fetishes, and celebrity daydreams. There is a certain level of self-awareness in their lyrics, as they allow their clever rhymes and well-delivered punch lines to speak for themselves.

Check out their latest release “Land of Kings”:

25: Where’d your love for music come from?

Thurzday: It comes from the people we grew up listening to Mos Def, Talib, Redman, Nas, Biggie; we were really influenced by Prince, listened to that reggae music and all that stuff, so we really loved music.

25: How did you two meet?

Y-O: We basically met in my freshman year and Thurzday’s sophomore year at St. Bernard High it was 1999. We met during lunchtime when we were either playing basketball, or on the courtyard doing freestyles up against upperclassmen and we just became the talk around campus, because we just demolished these upperclassmen who just thought they were just the ish and we did a talent show and joined a four man group during our high school years, we put out a couple of mix tapes, albums, and the request that they wanted to hear myself and Thurzday [do something together] so finally we made that division and we hopped out in ’06 and followed that with Fried Chicken and Watermelon in the year 2007.

25: What made you decide to really pursue a career in music?

Thurzday: Because 9-5’s are wack! I couldn’t see myself doing anything else that made me happy. This is what I wanted to do since I was a kid. Some people wonder why –it was like, the only thing we wanted to do as far as having a career. I looked up to people who’ve done it and I could never see myself doing anything else.

25: What made you realize that a career in music was right for you? How did it make you feel?

Y-O: Well, music has always been a part of our lives. I can tell you that growing up as a kid there was always music being played in our houses. But, before I got deep into music, there was always basketball, and with basketball, you know, you warm up to music. So, I noticed as I got older music has just always been something that was a part of me growing up as a kid and it just always made me feel so happy. When you write rhymes it’s just a way of [releasing] some stress off, getting stuff off your mind, and just putting it in your own words, and it just makes you happy; makes you get through the day easier. So, when we did the talent show in high school and just hearing the people’s reaction that kinda, like, made me feel great and I said to myself, “This could be a future; something I could do later on down the line.” So, just getting older and older and doing more shows—I guess I just took it more seriously and people respected it.

25: Many complain about a lack of originality in the music industry. What makes you different?

Thurzday: We’re not anybody else. We’re only us. So that’s like the only thing that makes us different from anybody. Everybody hasn’t lived our lifestyle. Everybody hasn’t experienced what we’ve experienced. So, through our own voice, we project who we are throughout our music. And it’s nobody but us. So, that’s really what makes us original. We’re true emcees. You know, we’re not a gimmick act. We really have talent, and we display that.

Y-O: And just to back him up. Our music is about things that actually happened in our lives, but outside of that, our live shows. I would say that It should be mentioned that even though we don’t have the biggest amount of money backing us up, we’re able to put our minds together-myself, Thurzday, our DJ and sometimes our band-and we just put on a live [ass] show, which some artists are not able to do these days.

25: Speaking of your music, it seems that you have a thing for Lauren London?

Y-O: Yeah, that’s a true story, once again. The song was basically inspired just from me having a crush on Lauren London, and I brought it up in the studio, with Ro Blvd, and we were just all joking and laughing about it. Everybody was like, “Yeah, she’s hot”. So, we started laughing about it, and it eventually turned into a record. She actually heard the record, and I guess it put a smile on her face. I thought she responded on Twitter, and she hit us up, well a fake hit us up, saying she loves the music, and she was acting real brand new. Then I remembered months ago that she’d heard it, so I was like “This can’t be Lauren” so I asked her a question about a mutual friend and she had no clue who I was talking about, so that kinda like, brought me down cause I thought I was really talking to Lauren London and come to find out it was a fake, man.

25: And shoes? You like those enough to write a whole song about them, as well?

Thurzday: We basically got an idea to take the original “C.R.E.A.M”, from Wu-Tang, and apply it to our lifestyle and a lot of folks were into kicks at the time, so we changed it to “Kicks Rule Everything Around Me”. We shot a video for it, and it took off.

25: You’ve been receiving a lot of positive feedback lately from the media, but what’s your career goal?

Y-O: To be bigger than Kanye, with more money than Bill Gates.

25: Any advice for aspiring artists?

Thurzday: Starts with quality music, and a quality team and you can do anything.

Y-O: Step outside the box, just be yourself, and have fun—always have fun.

Download their music at www.yothurz.com

Five years ago, Teedra Moses came on the scene with the potential to take over the R&B game. She had it all: the look, the songwriting capabilities (she’s wrote songs for many notable R&B songstresses), and her album entered No. 10 on the Billboard Heatseekers chart. So what happened?

In 2003, Moses penned a song for Nivea, and in the following years, Teairra Mari, and wrote “Dip It Low,” Christina Milian’s most successful song, reaching No. 5 on the US Billboard Hot 100. Unfortunately, what seemed like the opportunity of her dreams turned out to be a nightmare. Moses received positive reviews for Complex Simplicity, but TVT Record’s lack of promotion for the album affected her record sales. Despite these hurdles, Moses proved that she was able to persevere. Even with the poor record sales, the songbird’s talent was not overlooked and she developed a strong following of fans.

Due to issues with TVT Records, Moses was unable to put out her second LP and was left to find her own resources. Working with the indie label left her with little experience. “TVT Records never quite grasped the R&B market and the necessity of maintaining good relationships in this business,” says manager Tamia Schannell. “It ultimately led to their demise.” Out of their list of artists, TVT had three active R&B acts.

As of now, Teedra is a free agent and has broken ties with TVT Records.  She released a few mixtapes over the years, her most recent effort in 2009, Lionhearted – Young Hustla Vol. III, sold out on her myspace. Never the victim, Moses self-reliance pushed her to overcome roadblocks. Now a few years later, stronger and experienced, Moses has never felt more alive, hungry to release from the pen, the lion she’s been taming inside of her.

25: A lot of your fans are awaiting your return.

Teedra Moses: As you know TVT went bankrupt, and they are totally defunct now. Before I go to a new label I basically want to put out some new music myself. I was supposed to put out a mixed CD last year, the Royal Patience CD from the Young Hustla Volumes, but I chose not to do it because I wasn’t in the right place. It wasn’t the songs that I wanted and I wanted to see what was going on contractually with record labels and now that’s cleared. So I’m just going to go ahead and put out a small mixtape titled, Young Hustla Volume 3. From that point on I’m going to shop for a new deal which I’m not even sure if I want at this point.

Rather than have a mass appeal to everybody and be a huge star on the cover of all the magazines, it’s more important to me that I get to do the music I want to do and that my vision gets out clearly to the people that are my fans already. Labels, sometimes try to make artists into packages. And you know its great cus God has blessed me with the record label at TVT. It’s given me a pretty broad fan base because they’ve been waiting around for a while. So I can’t really say right now, and unfortunately it’s been a couple of bumps and some problems with business situations, but it doesn’t change the fact that I’m writing everyday.

25: You said earlier, that labels try to make artists put out packages…how do you plan to avoid this?

TM: I love that people love what I’ve done, but if what I do next doesn’t get pushed, I really can’t concern myself with that unfortunately. I love my relationship with the people that appreciate my music. It is on a level that most artists don’t get a chance to have. I’ve talked to them by AIM, or email or text messaging. Like I have connected with people with my music and I appreciate that and I appreciate every person that comes out to see every show I do.

And the promoter for the club would ask ‘Who is she?’ And by the time I leave the club it’s like ‘O that’s who she is. People were singing her song. Somebody loves her.’ And I love that. And the crazy thing is that when I’m performing I am that person for that hour or however long I perform, and I can’t pretend that I’m not that. So it is one of the most important things that I stay true to myself. That’s why I think about the idea of going to a label and whether that’s important enough right now.

25: How have you grown as an artist since your first album?

TM: My first album was just shoved out. It wasn’t quick, but it was. I started writing and recorded songs with that album. ‘Caught Up’ was one of the first songs I ever completely wrote, recorded, and arranged and it was like ‘Yo I can do this it’s kinda cool’. But then it all started coming so quick. Paul Poli and I had musicians, and other talented people around me and we kinda like had a little camp. You always had creative help, and you know things changed and everyone went their own way, and I’m here left to do my second album basically by myself. I had to learn so much, because Shaffer Smith taught me a lot about how to arrange.

He could arrange something in 15 minutes, which it would take me 15 minutes or it could take me 5 days. Paul Poli pretty much was the first person for me to start writing with, so I just chose some of the tracks that he gave me. And after that process, on the second album, I had to pretty much A&R myself and to learn to speak to the producers and to get what I want. I really wanted to get my side of it, like the lyrics, the melodies and arrangement, and get that as tight as possible. To me it seems like these past few years have been college for me.

The first album came out- I think it’s a great album and I’m very very proud of it. Not in an arrogant way, but you know you experience things in your life, and you don’t really care if people pay it any mind, it’s like you just fuck with it. But I’ve had to learn business wise about this industry, by running into brick walls and jumping over these hurdles that normally, you just have a record label that helps out for all that and I didn’t really have that. And I’m not disrespecting TVT, because I appreciate them, and I thank God for TVT, because I was able to learn so much and I was able to do all the writing on my first album and hone my skills.

25: So how does things look for the next album The Young Lioness?

TM: I’m gonna take my time, and unfortunately with TVT, there was nothing I could do, and I praise God that I didn’t get stuck with them because as much I appreciated them, that wasn’t the home for me. I really am a creative person and I love being in a creative environment, and they make club music and that’s cool, but I want to be around people that understand that there are still music lovers out there. Sometimes when you’re creative, people don’t understand it. And sometimes if it’s not something that’s going to be jumping in the club they just don’t believe in it. I hate that they had to fall so quickly apart but for me to get off, I don’t really care.

I’m free now. And a lot of people don’t understand what I went through over there hustling so hard by myself. My camp was hustling so hard because they [TVT] really didn’t believe in what I was doing. And I don’t know what they thought was going to happen with that first album without no promotion, but I think it did a great job with no promotion. But it’s cool cus I’m still here making music and people want to stay in tune. You know I’m the friend that’s always there. My music will always be there.

25: Is there any music, past or present that is influencing the music you are doing now?

TM: I like a lot. I don’t pick certain people, at least consciously. Even like older artists, like I love Shaka Khan, but I don’t go to be just like her. I love Janelle Monae, and Estelle, and its just so many people out there that I love what they are doing and I don’t literately take it but they inspire me. Jazmine Sullivan as well. I love her too.

25: Are there any other ventures outside of music that you would like to do?

TM: I really love and devote a lot of my time and my attention to making music because of how hands on I am with it. A lot of people are out making fashion lines, acting, and I think I have a slight case of ADD because I’m really focused when I want to do something good. I’m not the kind of person that can spread myself thin and be good at everything. I really love furniture and designing furniture and refurbishing things like that, but that’s really something that I have to wait for. I have so much responsibility with music and I really, really love clothing.

Before I started making music I had an accessory line called Sagittarius and I kind of stopped doing it because I had to start focusing on music. Now that I’ve gotten more comfortable with putting together my music, I am really considering putting Sagittarius back together, but these things will all follow. I just want to get my music out consistently and then those things will come. Another important thing to me is that I have to be a good mom. And I don’t care about making clothes or furniture if I can’t be a good mom. I don’t want to spread myself too thin if I’m not paying attention to that.

25: Would you ever consider doing more than one venture at a time?

TM: I can do more than one thing, I just have to master one first. I just feel like I haven’t had the chance to expose my abilities in music like I want to. So once I get that consistently going, then I’ll really start focusing on Sagittarius and pushing for my furniture store. But first things first my mom used to say, don’t be a jack of all trades and a master of none. Parenting is the first thing I have to stick with and then music came. I think it chose me. It was something that was in my family and that I needed to make money but I never left it. You know, I have to be committed to this first and master it before I move on to anything else. I am a person that is multi-talented and I thank God for that. But I want to master it.

25: What is your motivation to keep doing your music?

TM: I really really love it. And second because I was writing for a lot of people and making money, and going different places, and it’s sad to say that making money was a motivation, but it was the truth. But after awhile that wasn’t fulfilling enough. I was pushing myself to get as much out of myself as I could, so I just fell back for a second to really start seeking my focus. My motivation clearly was to make hot shit. You must love to ride around and listen to your records. I love TO HEAR MY SHIT and say like ‘you did that’. And never stopping my dreams because I have twin boys and they know that this is my dream, and since they were little they’ve seen they’re father go after their dreams and they’ve seen me accomplish them bit my bit. I think for me to ever stop going after my dreams would make me less of a parent.

25: At the end of the day, what do you want people to say about Teedra Moses and your work?

TM: First and foremost, I’m a child of God, and I’m a mother that’s trying my best. I’m hoping that I do a great job. And I’m thankful for my mother because she did a great job raising my brothers and sisters. But I want to be better, because that’s what she raised me to be. Secondly I want to be a person that extended whatever I had to the world to make it better. Me and my best friend is starting a non-profit organization called the Young Legends that is based on building esteem for young people because it’s really hard to be strong in yourself especially these days, with everything that’s coming at you. Everybody wants to be famous, whether it’s Youtube famous, flawless skin, hair down their back, whitest teeth, and sometimes I look at the television, like ‘Are these human beings?’ And I think do what you feel.

If you change your whole look and just carve your whole body out, that’s your business. But I want to extend to younger people to feel comfortable in who you are, and even if you make a decision to change yourself, do it because its what you want and not because other people want you to do it. Musically I want to be consistent and I want people to say that as an artist I tried and she never said ‘hey fuck it I’m just gonna put out some shit’, she always pushed herself to the next level to do good work.

25: And will all these experiences come through on your future mixtape and albums?

TM: I hope so, I think I take a strong stance in my songwriting, on the Young Lioness especially, one of the reasons I called it the Young Lioness and the reason why I am calling my mixtape Lionhearted is a reminder to me that I am courageous. That I’m strong, that I’m not gone let a nigger run over me, that I’m not gone let this industry run over me, that I’m not the prey or victim but always the victor. It will come through in the music.

I work to make music that not just woman, but anybody can listen to and be like ‘that’s right I am good I can do this I’m confident and here I am out here in the world’. Because the world can be a very cruel place and you can have so many people that love you and still feel lonely. I’m not saying that’s my position. I feel very loved and I don’t feel lonely, but I look to see more than what’s just going on with me and it will come through. And I think when people listen to at least three or four songs you can tell who I am and where I’m coming from.

Queen Mary sought assistance from R&B’s younger generation for “Stronger,” a song featured on DJ Storm’s mixtape. The ‘I-survived-love’ song features Chris Breezy firing up the background vocals. The listener can focus less on good lyrics, which is what this track lacks, and more on the sweet sound produced by the two vocalists. Though it has potential, this song could have definitely been stronger.

Listen here:

-Stacy-Ann Ellis

South by Southwest 2009 is one of the most anticipated festivals of the year…and its here!

SXSW is a week filled with all things music, film, and technology. This year the music portion lasts March 18-22. Flocks of Texans (and others) will gather in downtown Austin to catch live performances from indie bands and a few major names, as well as panels from industry insiders, book signings, and of course a shitload of parties.

Festival-goers can expect live performances from Third Eye Blind, Solange, and many more. Imeem has day-by-day playlists of all performing artists and its pretty hot.

This week, three highly anticipated albums of 09′ have fell victim to the industry trend of the “push back”. 

According to HipHopDx, Lil Wayne’s Album ‘The Rebirth’, which was scheduled to drop on May 19th, may now be shelved. Originally ‘Rebirth’, the rappers first experiment at a rock album was slated for an April 7th release, making this the second time it’s been held over.

Wayne’s not the only one who is having trouble putting out the goods. Yesterday, ThisIs50.com reported that Busta Rhymes’s ’B.O.M.B (Back on My Bullshit)’ will be dropped on May 19th instead of March 24th. The album will feature Mary J. Blige, John Legend, and Common.

The self-proclaimed ‘biggest boss’ Rick Ross will also be appointing his upcoming third album ‘Deeper than Rap’ to an April 21st spring release, according to a Def Jam label rep. Ross recently announced on MTV that he will be doing a mini-tour in New York City and in Miami this spring, in which all proceeds will go to underpriveleged kids.

Unlike Ross and Rhymes, Wayne has yet to confirm an official date for his upcoming album.

-Natelege

It’s been a minute since my last Crack Music blog, but trust I’m always on the lookout for the best ‘stuff’ to bring to 25 readers, in order to further their addiction to ‘good music’. And I have to tell y’all  that “So Beautiful” by Musiq Soulchild has to be the ultimate crack!

When I first heard the song, it stole my heart. Sexy yet classy, Musiq puts out another serenade that is destined to be a classic.  If you loved “Love”, “HalfCrazy”, “TeachMe” or any of the other soulful masterpieces that this brother has consistently managed to stir up, then you will have ‘So Beautiful’ on repeat as well.  This song makes you stop and stare about that special lady in your life, and if you are solo dolo then it have you curious about what it feels like to have a wifey. Also ladies, like me you’d want your man singing this song to you all night long.

And of course lastly, the video above complements the beauty of the song. Once again Musiq Soulchild, not only represents that Philly soul, but also represents that raw, authentic emotion and soul of R&B.

-Natelegé

Looks like Keri is after some pre-album release publicity with her latest remix/diss track of “Turnin Me On” Ft. Lil Wayne & T-Pain. Guess which R&B vixens she’s checkin.

While Keri Hilson may have proven herself to be  a master songwriter her diss records aren’t so straight forward. The remix tells a certain someone to “check the credits, ho” and makes some suspicious references that can be tied to both Beyonce and Ciara such as a an “Irreplaceable” and Atlanta spin-off but we’ll let you be the judge.

Download Here [shouts to SS]

Last week Lupe stopped by St. Alfred in Chicago for the release of his Converse sneaker. Read more for event photos.

[shouts to Highsnobiety]

dopeROOTs just dropped Quest’s Distant Travels Into Soul Theory mixtape. Dude raps over 1970′s soul tracks while chronicling a good relationship gone bad. Read more for tracklist and download.

Download Here

Download here [shouts to illroots]

Check out Kid Cudi’s latest track “Sky Might Fall” prod. Kanye West. Read more for download.

Download Full Version Here

So there’s this rap band, The Five One, and they have too much time on their hands. Every week they will release a “Deuce Burger” or remix of sorts to a popular song with a Five One twist [FYI: they performed at our kick-off event we held last September with the D.C. chapter of the GRAMMY's].  They’re in week seven and surprisingly, they don’t suck. We’ll see if we’ve spoken too soon come week 47.

Catch up on their latest releases:

 Week 7: The Five One x Vampire Weekend – “District of Colossus” – Download Here

District of Colossus Video

District of Colossus from Deuce Day World on Vimeo.
 

Week 6: The Five One x Gorillaz – “Dirty Fame” – Download Here

Week 5: The Five One x Andre 3000 – “Love and War Remix ” Download Here

Week 4: The Five One x Kenna – “Face The Gun Remix” – Download Here

Week 3: The Five One S.L.U. Remix – “Colors Like Us” – Download Here

Week 2: The Five One x Lykke Li  – “Little Bit Remix” – Download Here

Week 1: The Five One x Kanye West – “Amazing” – Download Here

We think they’re pretty snazzy, what do you think?

We’re late. We’re very late, but we figured you’d still be interested.

Read more for Tracklist and download.

Download here

Chopped & Screwed Version by DJ Mr. Rojers – Download here

Happy Valentine’s Day! We found this gem on the internet by this dude Jabee. Not bad.

Tracklist & download after the jump…

Download: Jabee Valentines Day EP

By Natelegé Whaley

“Hot Off the Stove” by The Cool Kids – Crème de La Crème Mixtape

“Hot hot of the stove, Pop pop in the trunk” is the hook on this Cool Kid’s track off the recent Crème De La Crème Mixtape. Is it the almost deafening bass or the catchy, fun hooks that the Cool Kids always offer that has got me once again? Hmmm, not sure. But whatever it is I love it and it’s got me pressing repeat this week.

I don’t remember when or how I found it but I was happy when I did. I’ve been a fan of The Cool Kids for about a year now and I’m always impressed with how they always maintain their fun, colorful sound yet manage to assemble something new for their fans every time.

On this track Mikey and Chuck bring you into their magical musical kitchen. If you listen close enough you can hear the pots and pans click-clacking, and Mikey and Chuck working up–dicing, rearranging, and perfecting their next hot song. In the midst of their culinary genius Chuck’s calling himself a “baker’s man” and proudly proclaiming they “got it hot and it’s sizzlin”. I got a taste of some of this ‘cake’ they’ve cooked up and trust me folks, it’s sweet. I would be greedy when I find something this good, but I will be nice today by letting you guys take a sample.

Wow, what would I do without The Cool Kids? Out of the select artists I actually take the time to listen to today, they are always worth it. And might I add that they are nice to look at. I appreciate a man that can dress. I will also admit I’ve had a crush on Mikey for a minute now. Who doesn’t?

But anyway, for now I guess I will be waiting for the next hot thing. Chuck and Mikey, what you got cooking up next? Because I need another plate of it now!!!

What was Q-Tip on when he made his album The Renaissance? Whatever it is I want some of it. If I had to craft my own personal perfect rap album this would be it. With a fusion of rock, soul, rap, funk, and jazz, it is just the right blend of ingredients of music without losing the hip hop edge. It would actually be a crime to try to put the sound of this album into one box because it’s more than one thing.

And who said hip-hop had to look one way. The album brings together different dimensions forming exactly what it is titled The Renaissance. Q-Tip has confidently created a masterpiece of tracks that meld perfectly together. When he put his final touches on this album he knew he was putting out greatness. He probably was like ‘yes I know I’m the man’. After listening I felt so refreshed as if someone had dumped a huge bucket over me.

I was going to write about just one song but I felt the album is too good for me to have only one favorite song. I actually like all of them. But here are two songs that has been my own heavy rotation. ‘Getting Up’ is one. When I first heard this song it made me smile. It’s one of those pretty, happy, sunny songs in which you two step to when you get dressed in the morning. And Q-Tip’s flow and execution of words makes me feel like I’m listening to a guy that can spit game and is so smooth with.

“We Fight/We love” featuring Raphael Saddiq is so funky! It reminds me of some early 80s soul. It describes the human’s constant encounter and struggle with life. And as usual Raphael Saddiq is crazy on the track. Even though this song is about a struggle of life, the song’s not too fast, but not too slow tempo, would be the perfect center point of my life. I’d like to live in the music of this song.

So as you can see I love this album and it’s been added to my personal list of all time favorites.

Remember coming home from school to watch your favorite music video countdown show? Whether you were into the teen pop on TRL, the rawness of Rap City, or the cool urban edge of 106 & Park, there was something for all music tastes. You could not catch new videos or see your favorite artists make appearances anywhere else. If you missed it, you knew you would be left out of the conversation the next day at school. The exclusivity these shows offered were priceless. But today we no longer have to wait to watch music videos thanks to the internet, our generation’s new best friend and the music video countdown show’s new worst enemy.

“If I hear a new Jazmine Sullivan song…and I want to see if she has a video on YouTube, I can go there and check it out. Its instant access and this is what this generation is becoming affixed to,” says Martin Berrios, music editor at AllHipHop.com. After holding sales and marketing positions at music companies such as Warner Brothers and Sony BMG for 15 years, he started writing for Allhiphop.com in 2004 as a plan B due to the shrinking music industry. “If you’re going to have to wait two hours for Rap City to come on, it’s just like what’s the point when you have the internet.”

Originally music video shows were the only place one could see videos. “Me being from the Bronx, or living in any borough that wasn’t classified as an upper-middle class borough, we weren’t able to get cable. So all we had was…Video Music Box, which was huge to us because we would…finally see what these artists and tastemakers of life would look like, act like, and talk like,” says Berrios

Video Music Box, created by Ralph McDaniels, has aired for 25 years, and is the longest running TV show centered around Hip Hop. “I think Ralph McDaniels pioneered so much. He would brand each day differently like Old School Wednesdays, Flashback Fridays…and he also had social and political commentary. When the Central Park jogger got raped, God bless her soul, he was definitely advocating for the arrest of the kids who raped her. So I got to give him props for…really laying down the blueprint for every other urban video show to follow,” Berrios said.

But now music video shows are losing their appeal. Recently, BET’s Rap City was canceled and will be ending it’s 19-year run on October 29, 2008. It was one of the only music video shows to cater to the rap fan and is known for the freestyle booth in which rappers showcased their rhyming skills. Big Tigger, former host from 1999-2005 was known for freestyling with artists in the booth. Shortly after his departure, the show was cut from a two hour format to one hour in October 2005 due to a decline in ratings. Rap City’s replacement, The Deal will air this winter.

Similarly, MTV’s TRL was canceled in September 2008 and will aired it’s finale on November 16, 2008. The show was most popular during Carson Daly’s reign as host from 1998-2003. According to Nielsen Media Research TRL’s ratings peaked at 757,000 in 1999. TRL is the catalyst that boosted the popularity of teen stars such as N’Sync, Britney Spears, and Christina Aguilera.

But now that music video shows are losing popularity, artists must now find other ways to promote their music videos and create buzz. “They’re going to have to catch up with this whole viral online thing. These music video shows are going the way of the dinosaur,” says Berrios. He also mentioned 50 Cent as an artist leading in online marketing and promotion. “He had some vision because he was the first major artist around to have his own social networking site, THISIS50.com…So now you have a hub where anybody that’s a fan of 50 Cent…will know that if a freestyle dropped 10 minutes ago, it will be up there.”

Jahi Whitehead, senior Audio Production major, and Programming Director at WHBC feels similarly. “Artists are creating their own blogsites and are doing their own reality shows whether online or on TV and putting their music videos on before or after their shows. They will also utilize YouTube for promotion like Soulja Boy.”

Artists, like Soulja Boy Tell’em, who was unknown only two years ago, exploded onto the music scene using online social networking sites like MySpace and YouTube. “The internet definitely lowers the cost of production. Before you had to have a huge crew and set, now all you need is a green screen and a good graphic artist. And you don’t need CDs when you can just upload it to Imeem or iTunes. Nowadays people can have studio quality work with a really small budget,” Whitehead says.

The music video show’s relevance may also be declining because enough attention is not given to the actual music video. Cris Thorne, a junior, Film major says, “The emphasis is more on the person now than their music, and they don’t play the whole video.” To him the VJs are no longer interesting. “The people who used to do it were more involved in the music industry like Fab 5 from Yo! MTV Raps and Carson Daly on TRL. The people today don’t really have personality.”

To Thorne, artists simply are not being creative enough. “There’s a lot of stories people tell through music, but you’re not seeing the actual visual adaptation through the music videos…You want to appeal to the 5 senses and put a different twist on it, instead of the normal themes like women, money, cars, etc.”

Because of the lack of interest, the future of music video shows may seem dim. “I think we have to break out of the normal format. Let’s think of something new. Let’s do something fresh. We can listen to radio and guess who will be one, two, three, four and five on the countdown. I don’t care who you have hosting it. If you have 50 Cent hosting it day in and day out for a year that’s going to become tiresome too,” Martin Berrios says.

As MTV, BET, and VH1, all originally music television channels, eliminate music video shows from their lineup and increase their number of reality television shows, prepare for the music video show extinction. Now that television, once thought to be giant of all media, has been taken over by a new king, the internet, the music industry must now bow down and adapt to the new rules of the internet age.

Check out the Top 5 Most Shocking Moments of Music Video Show Television