In XXL’s April 2010 issue, Lloyd Banks filled in the blanks to 20 questions. Question No. 8 was, “ ______ career would have been better off if he didn’t bump heads with G-Unit.” Guess whose career he chose to fill in that blank? He chose “Ja Rule’s.” Now, does the same go from Drake when it comes to bumping heads with Common?

Not yet. But it is a warning that cautions “do no repeat.”

According to hearsay, the cause for the whole battle (this is not beef, there is a difference) between Common and Drake is tennis great Serena Williams. In early 2010, Com and Williams ended their lengthy relationship. What’s more, Drizzy was rumored to be involved with Williams, during late 2011. Drake did not shoot down the gossip like Williams did in August of 2010, when she deemed him as just a “close friend.” In the thank you section for his sophomore album Take Care, Drake added fuel to the fire. “Serena Williams (you have given me a very exciting year and I am so grateful to have you in my life…” Come what may, the origin of the battle is not of great import; the music being produced is and the consequences of the battle might be.

“I’m hearing all of the jokes. I know that they trying push me. I know that showing emotion don’t ever mean I’m a p—-. Know that I don’t make music for n—-s who don’t get p—-. So, those are the ones I count on to diss me or overlook me,” Drizzy voiced on his track “Lord Knows.”

Those bars by the Toronto native seemed enough to ward off other, potential detractors besides the ones who did prior to the release of the record, yet who could have ever predicted Common to be one? And, the hip-hop veteran with nine albums under his belt did not only diss him; he almost finished him.

Common jumped on Rick Ross’s “Stay Schemin” that features Drake voicing several indirect bars that are all but surely about him and: rapped about Drake’s father (“Son of a b—-, I imagine what your father is”), expressed the fact that Drizzy stole Big Sean’s flow (“His style, he don’t own it”), questioned Drake’s true grit which many have reservations about (“Everybody know you sweet, what the problem is… Acting all hard when he hardly like that… You a b—-because you cling like a b—- that’s eighteen”), called him out on the fact that he continues spitting allusive bars (“Can’t say my name but rap about a n—-’s wife”) and even casted aspersions on Drake’s bicultural status (“You so black and white, trying to live a n—-’s life”).

Common did all that in one verse, soon after the original “Stay Schemin” dropped, mentioned Drizzy’s name and pointed out how Drake implied how he was going to confront Com with his crew instead of by himself? Game over? Not quite yet. One has to at least revisit Drake’s verse on the track.

“I just ask them ‘when you see me you speak up n—-,’ that’s all,” rapped Drake on the song, which was dope but also was the lone bar that Drake in which case referred to confronting Com by himself, without his crew.

“Me and my G from DC that’s how I roll around. Might look light, but we heavy though. You think Drake will pull some shit like that? You never know,” Drake also added in his verse.

Was Drake talking about being strapped now? Really? Come on. Not only that, he mentioned the fact he would not be alone, which he did multiple times. Then, he started oddly rapping about Los Angeles Laker Kobe Bryant’s divorce and strayed from what sounded like confidential matters Serena told him about Com, “Shorty wanna tell me secrets about a rap n—-.”

“I’m just hitting my pinnacle. You and p—- identical. You like the f—ing finish line. We can’t wait to run into you,” OVOXO’s czar rapped.

Again, there is another hot part to Drake’s diss to Common, but, similar to the previous part I referred to as being dope, the Canadian-born rapper loses points because he stated he and his crew “can’t wait to run into” Com, instead of him alone.

Still, back to the lesson Drizzy should have learned from the Ja Rule/G-Unit beef, which is basically to avoid bumping heads with rappers’ disses that digress one from the content that they make and is accepted for. Imagine it was not Common, who is not considered the toughest guy by casual hip-hop fans to say the least. Envision this had been Jadakiss or an up-and-comer with 50 Cent’s aggressiveness and Jay-Z’s elite lyricism. Conjure up Drizzy doing a record like “Clap Back” and changing his whole persona similar to how Ja did.
Next time, it will not be Common. And, no Com is not a punk. In 1990s, he battled Ice Cube before Cube’s family movie days. In the early 2000s, Common slapped a heckling fan during a live performance in South Carolina.

Quite the contrary, Drake last had a rap feud with Kardinal Offishall. Yes, Kardinal Offishall. And, what is Drizzy known for doing live? Saying he loves Rihanna and briefly ranting about how he is not a b—- because he sings. Further, Drake can wear Carhartt and all black as much as he wants to, but now it’s time he responds directly. He got leeway since Common’s “Sweet” was indirect, even though Com stated it was not specifically for Drake and that Drake “embraced” it on his own. But now, Drake replied with “Stay Schemin” and has no choice but to reply or people will forever think he is indeed “sweet.” Still, he should make sure to avoid replying to most disses from here on or his career could end up like Ja’s and people will likely just shake their head and say “look what you’ve done.”

Drake, it’s your turn.

La Perla Stretch satin Bra with Microfiber Panty

Pre-fire engine red head Rihanna graces the cover of Elle for July’s women in music issue. All I can say, she looks absolutely stunning.  Rihanna is becoming a fashion icon in her own right thanks to her stylist Mariel Haenn (the mastermind behind dozens of Ri’s appearances). It seems like with each passing year her look and daring fashion choices are solidifying her amongst the most fashionable celebrities.  Of course in the interview she mentions Matt Kemp and Chris Brown, but we are so goo goo eyed over the shoot itself we don’t care about her new man or her ex.

Roberto Cavalli Georgette Dress with Noel Stewart Cocktail Hat and Falke thigh-high stockings

Lanvin Animal Print Belted Trench Coat

Elle’s July issue is on newstands now! http://www.elle.com/Pop-Culture/Cover-Shoots/Rihanna

Rhianna Feat. 4Hero – World Love

No your eyes aren’t deceiving you, this post reads correctly and the above picture is right, I’m just not talking about the Rihanna most immediately think of:

I was first put on to World Love – The 4Hero Mix in Paris a couple of years ago and it was off the popular overseas music compilation Nova Tunes. I was pretty surprised when I saw that 4Hero had actually hopped on a Rihanna track – a song I had never heard before but immediately liked.  I did however, sense that something was a little off: The name and voice just did not match.

So after doing some searching online I soon learned that World Love is from Rhianna just not the Rihanna I was expecting. That Rihanna, (with an R-i-h) is the well known Barbadian singer who first hit the scene in 2005 and whose face is now plastered on many blogs and magazine covers every day. This particular Rhianna (with an R-h-i) is an R&B singer from Leeds, England who released her first studio album, Get On, in 2002 and just so happened to have the same name as Jay Z’s cute little protégé – which  also happened to be an unlucky coincidence.

Rhianna Kenny released  Get On through Sony’s S2 imprint over eight years ago (in the UK only) and the album saw a fair amount of success due its lead single, Oh Baby, which reached the top 20 on the British charts. Unfortunately it  was her only single to make any promising noise with her second song, World Love charting low and going pretty much unnoticed. That is until 4Hero decided to mix it up with  a dope sophisticated electronic beat which resulted in the dull-ish track getting a second chance at life. The  mediocre pop song was transformed into a soulful and laid back hit and it was able to introduce Rhianna to a whole new listening audience.  

However, by the time she tried her shot at a second album in 2006, Rihanna (number 2?) had  already become a (somewhat) pop sensation and the possibility of having two girls with the same unusual name in one industry just wasn’t going to work.

Now, Rhianna (number 1?) has reemerged as an indie artist going by the alias Freckles and her music which is more on the jazzy/ lounge side  has been receiving some light buzz underground but for the most part is still relatively unknown. Honestly, I’m not sure if the reason English Rhianna hasn’t had true success is due to her name or because her music just isn’t up to par… but  4Hero’s remix to her song World Love was beautifully done and only confirmed to me that ’Marc Mac’ and ‘Dego’ are excellent producers who can turn anything into some hotness and that’s why you should definitely peep it in case you missed it.

Rihanna - Sexuality

Even though RiRi’s latest album, Rated R, is kind a dubious (IMO), her track “Rude Boy,” is a standout. The track, produced by Norwegian production do Stargate, has some direct ragga influences, and the come hither hook “Come On Rude Boy can you get it up?” is fitting for Ri’s new “bad girl” image. The video dropped yesterday and channels obvious inspiration from M.I.A.

On top of the video release, there was also a drop for the unreleased song, “Sexuality.” The track sees Ri sampling Prince (Controversy) and bringing in some 80s synths for a very funky retro-influenced cut. Unfortunately, this never made it to any of Ri’s albums, but thanks to the power of the Internet, it can make it to your iPod. (thx, Concrete Loop)

Since the devastating the earthquake that killed many thousands of Haitians  occurred a couple of weeks ago, the world has appeared to come together (for a quick second at least) and help out those in need.

Musicians on all levels have made their contributions by song and tributes such as Hope for Haiti  a global benefit concert which aired this past weekend have generated  significant amounts of money towards relief. 

Countless of other benefits have occurred as well -some with big name stars such as Bono and Alicia Keys others on a more indie scale with artist such as Selah Sue and Ronnie Mosuse—- Check out  a few of the the higlights below and to donate log on to http://www.hopeforhaiti.com.

Selah Sue & Ronnie Mosuse

Madonna

Stevie Wonder

Jay Z, Rihanna, Bono, The Edge

I spent most of the day trashing Rihanna for a column that I’m writing for next week. However, I do like the track “Hard,” and the video is on some next level military combat film ish. If Rihanna was my drill sergeant I wouldn’t complain.

When all is said and written about the career of Rihanna, we’ll all look back and remember exactly where we were on the evening of February 8, 2009. It was the night of the Grammys, and for Rihanna and then boyfriend R&B/pop powerhouse Chris Brown, it was to be a special night. Brown, to perform with American Idol winner Jordin Sparks and likely win a Grammy or two for their duet on “No Air,” and Rihanna? Well, her Good Girl Gone Bad album had become the one that made her a household name, as now, a platinum selling artist literally worldwide, it was a night to ascend to the throne as THE pop diva. But that didn’t happen. Brown and Rihanna engaged in a harrowing altercation, one that destroyed a relationship, their ability to make their Grammy appearances, and in many minds, their careers. Undeterred by such a notion, Rihanna releases Rated R her fourth studio album on November 23rd, one of the more anticipated releases of the fourth quarter holiday season. It’s a dark, defiant and downright angry Rihanna on this record, appearing ready to fight a world that turned their back on her, and heaped pity, scorn and ridicule upon her life and situation.

Clocking in at 53 minutes, this album is fantastic on many levels. Yes, it’s completely exploitative of her situation, but there’s an incongruous charm and pluck in her angst that doesn’t really leave the listener sullied by listening to a record filled with the entirely too intense thoughts of a young woman in peril. Kudos in this situation must be given to the production team on this record, namely the super duo of Ne-Yo and Chuck Harmony, who like Motown legends Eddie Holland,Jr., Brian Holland and Lamont Dozier are becoming the true emotive sound of a generation. As well, involved here is The-Dream, who in this reviewer’s eyes is on a legendary hot streak, and his particular sensitivity to the co-mingling of lyric and expression make him a stellar choice to be present on this release. Justin Timberlake’s team The Y’s are here too, as JT is easily getting his feet wet, but has a timeless, Memphis honed, Issac Hayes and Willie Mitchell studied quality to him that adds gravitas. But the real surprise here is the presence of London dubstep duo Chase and Status, who literally add an extra star to the quality of this production as the haunting and terrifying wobbly basslines add an effect of sheer terror and fright to this recording that makes Rihanna’s proclamations exceedingly reality based.

“Ladies and gentlemen, for those of you who are easily frightened, we suggest you turn away now!” Rihanna’s album opens with this proclamation over some particularly face melting dubstep, and if you don’t, you get to hear easily some of the most empowered, foul mouthed and quotable lyricism over next level production of the year. On the fantastic dubbed out pop of “Wait Your Turn,” she’s “such a fuckin’ lady.” On “Rockstar 101,” with Guns and Roses’ Slash laying soaring licks, she’s “got her middle finger up, I don’t really give a fuck.” I’m not arguing that Rihanna was ever up for consideration as a sanctified diva with angel wings, but such brusque language shocks and appalls the ears, and definitely makes the listener aware this is a woman who has matured, changed, is a little tired, and certainly worn out. It’s as if she’s removed her eyelashes, fingernails, makeup, extensions, contacts and every other acoutrement of beauty, and is staring at you as the hospital photograph of the most unfortunate evening of her life.

Radio single “Russian Roulette” is the album’s finest moment. Chuck Harmony and Ne-Yo create a rising, triumphant track with insistent tom tom drums that fade into a bass pattern reminiscent of the heartbeat of the hopeful and strong woman singing the song. Matching lyric to track is a noted skill of the duo, and when Rihanna states that she hopes “her life will see another sunrise,” well, you really and sincerely hope it. The song ending with her game of Russian Roulette meeting a tragic end as the track suddenly fades? Well, that’s easily the albums darkest moment, indelible reality striking down the unrepentant hope of one of the year’s largest singles.

Follow up single “Hard” is a true winner. Featuring Young Jeezy, it’s near perfect, as everything combines to create a song that never stops winning. The-Dream’s is at his most deliberate, bratty, catty and most emotive of femininity in his songwriting here, with lines like “tougher than a lion, ain’t no need in tryin’, I live where the sky ends…yep…you know this” emptying out of Rihanna as this feels like where the pain and agony really fades and the “motherfucker, I’ll be okay, just watch me” period begins. This makes the song a champion, and shows Rihanna to have the talent and depth of an industry veteran who knows how to step up to a track and concept and completely smash it out of the park.

The other winner here is Justin Timberlake’s songwriting and Rihanna’s performance on “Cold Case Love,” where JT lets his feelings on the Chris Brown/Rihanna situation be known in a song that is as much heartfelt heartstring tugger as it is hug from friend to friend. The violins, piano and breaks here are so understated and emotive that as Rihanna starts to really delve into the lyric, the frown become as weep and evolves into a cry, as you see the woman, not the celebrity, and the healing begins.

To understand the nature of this album as catharsis is to understand where this album approaches yet does not achieve success as well. “Rude Boy,” a track ostensibly about debauched rebound sex, doesn’t necessarily win as much as it creates unease in the listener, as an emotionally damaged woman giving so freely of her body in a carnal manner is yes, very real, but also, possibly more painful than needs to be explored on record. “G4L” advocates rolling up on Chris Brown and slaying him in a gangland shooting. Yes, this will be a song that every woman will love and really enjoy on a conceptual level, and it’s complete absurdity really does flesh out the emotion and passion of Rihanna in her most vulnerable of moments, but it may be a bit too much for an album.

Rihanna’s going to be okay. Rated R may set a standard for shamed, abused and angered female expression in the same manner as Marvin Gaye’s ode to the pain of divorce, Here My Dear. The production standard on this album is incredible, as for a release of this nature, it certainly needed to be of a level of excellence not achieved in R & B in some time. The darkest hour is just before dawn. Clearly, for Rihanna after this record, these are only a few seconds left.

4.5 OUT OF FIVE STARS

Well damn, this gets the award for “most Badass picture of the year,” for sure. Looks like they are going for a Mad Max type of vibe for Jay-Z’s latest single “Run This Town.” Looks interesting, even though the track is a little mediocre, Im definately tuning in for the video. (via Herfection)