It’s 1985, and the only thing Hawkins, Indiana, has more of than bizarre supernatural/pseudo-scientific phenomena is a plethora of pop culture touchstones. One can be a major “Stranger Things” fan and either be too young to have any memories of the over-the-top decade in which Season 3 is set, or emerged from the Reagan Era with too-fuzzy recall, perhaps owing to when you didn’t “Just Say No.”
These television shows will help to fill that ‘Game of Thrones’-shaped void.
A public resignation. A coach firing. A botched coaching search. And that’s just the past 45 days for the NBA’s marquee franchise.
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© ℗ © 2019 Tonic Books Publishing
If you need further proof that the nerds have inherited the earth, look no further than this coming weekend, when “Game of Thrones” and “Avengers: Endgame” will wage separate battles for pop-culture supremacy.
Drake is known for co-opting various styles, so inevitably he got slapped with a culture vulture tag, by some—in particular UK grime artist Wiley. This was among the topics the Toronto rapper addressed during a recent sit down with BBC Radio 1’s 1Xtra Rap Show.
Speaking to DJ Tiffany Calver, the 6 God dismissed any culture vulture rhetoric as a manifestation of haters.
“I hate that people think that me being into music from these kids that are trying to like make it and trying to build a name for themselves is like, ‘Oh, that’s some culture vulture,” he said. “What does that even mean? I don’t understand. Would you rather me not acknowledge anything or support? That’s some real confused like…hater sh*t.”
While Drake has been known for liberally hopping on the waves of, for example, the trap rap styles of the Migos or grime aesthetics of Skepta, he does give the originators their props.
He added, “I see it a lot. I’ll never understand how supporting somebody’s song or even going a step further giving somebody a song or linking so, I’ll never understand how that’s not viewed as something admirable.”
Drake then added that it was Wiley’s comments that got under his skin. In turn, Wiley took to social media to respond, and he feels a ways.
We’d bet good money this gets squashed sooner rather than later. Listen to a portion of the BBC Radio 1 interview below.
The primacy of NBA culture is fading, overwhelmed by the power of the superstar.
www.espn.com – NBA
Produced by WIRED Brand Lab for Slack | In the fifth episode of ‘The Future of Work’, WIRED Brand Lab discusses how culture is shaped at WIRED by increasing transparency between employees and leadership. WIRED’s Director of Brand Development Ryan Aspell sits down with Executive Director Matt Stevenson, Executive Assistant Shaquille Cheris, and Activations Associate Manager Lara Winkler to share how AMA’s on Slack are integral to that process.
“Fyre” — Netflix’s version of a pair of dueling documentaries — is positively bonkers, a feature-length look at the planned Fyre music festival that went spectacularly awry. But beyond the first-person accounts, it’s a larger examination of the ability to sell consumers an image, and an “influencer” culture built around turning eager social-media users into marketing ambassadors.
By Ian Fortey Published: January 16th, 2019
© ℗ © 2018 Macmillan Audio
"IT’S FOR EVERYONE TO ENJOY BUT FOR US TO OWN!"
By Ian Fortey Published: September 26th, 2018
Current Maryland players describe a culture of fear and intimidation within the football program in the run-up to offensive lineman Jordan McNair’s death.
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Thousands of comic, superhero and anime fans descend on San Diego for the start of Comic-Con.
Saying realistic sex dolls are the future of our sex culture, SexySexDoll.com has announced the availability of its services as an authorized reseller of quality sex doll brands.
XBIZ.com – Pleasure & Retail
Yung Rich Nation.
Hip-Hop has been in existence for over four decades and its rich history is deserving of continual examination and reverence. UK-based art and design studio Dorothy has unveiled its new Hip-Hop Love Blueprint that pays homage to founding fathers DJ Kool Herc and Grandmaster Flash, while also honoring current culture leaders Jay-Z, Kanye West, and Kendrick Lamar among several dozen others, all using the circuit diagram of the turntable.
Our Hip-Hop Love Blueprint celebrates over 700 MCs, DJs, producers, turntablists, musicians, graffiti artists, b-boys and b-girls who (in our opinion) have been pivotal to the evolution of hip-hop, from pioneers such as DJ Kool Herc and Grandmaster Flash to present day superstars such as Jay-Z, Kanye West and Kendrick Lamar.
The prints pays homage to the godfathers of hip-hop (Gil Scott-Heron, The Last Poets) but takes its starting point as DJ Kool Herc’s Back to School Jam in the Bronx, New York in August 1973 – the party that is widely regarded as the birthplace of hip-hop.
The print weaves it way through many different scenes and record labels including early old-school innovators (Grandmaster Flash and the Furious Five, DJ Kool Herc, Afrika Bambaataa, Cold Crush Brothers), golden age heroes (Run–DMC, Beastie Boys, KRS-One, Eric B. & Rakim), hip-hop collective Native Tongues (De La Soul, A Tribe Called Quest, Jungle Brothers, Queen Latifah, Monie Love), politically charged hip-hop (Public Enemy, The Disposable Heroes of Hiphoprisy, Lauryn Hill), legendary East Coast artists (The Notorious B.I.G, Nas), legendary West Coast artists (Tupac Shakur, Dr. Dre), gangsta rap (Ice-T, N.W.A, Ice Cube, Snoop Dogg), hardcore (Wu-Tang Clan, Mobb Deep), Southern rap (Lil Wayne, T.I., Outkast) underground hip-hop (Company Flow, MF Doom, Aesop Rock), turntablism (Invisibl Scratch Piklz, The X-Ecutioners), trip-hop (Massive Attack, Tricky, Portishead), UK grime (Wiley, Skepta and Stormzy) and legendary producers (DJ Premier, J Dilla, Madlib).
Also honored in the blueprint are b-boy and b-girl crews like the New York City Breakers and Rock Steady Crew. Graffiti writers also get props such as Lady Pink and Futura 2000.
The blueprint is screen printed metallic gold with a cobalt blue background. Check out the piece in full by following this link.
Check the images below and on the following pages to see
The post The Hip-Hop Love Blueprint Celebrates Rich History Of The Culture appeared first on Hip-Hop Wired.
© ℗ © 2012 Macmillan Audio
By Luis Prada Published: July 17th, 2017
WEST COAST VET TALKS THE STATE OF HIP-HOP
Exclusive Hip Hop News, Interviews, Rumors, Rap & Music Videos | Allhiphop
Carrie Brownstein, in her New York hotel room, is working on a Saturday. But she’s had her coffee and is running on West Coast time, so she’s wide-eyed, clear-headed, and ready to dive into conversation with the same enthusiasm most reserve for a plate of eggs at noon on a weekend. The Sleater-Kinney guitarist, writer, and Portlandia and Transparent actress has always been curiously eloquent. That quality has become obvious …
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Indie singer-songwriter Mitski discusses her love of pop culture with MTV News.
(AllHipHop News) Last year Roc-A-Fella Records co-founder Dame Dash was on a personal mission to call out individuals in the music business he believed to be “culture vultures.” Dame’s list of people he accused of using Hip Hop simply for profit included Lyor Cohen, the former head of Def Jam Recordings.
“I want him to stop trying to rape my culture. Go make some money with some other people,” Dame said at the time. “Stop having your agenda be Hip Hop.”
The business mogul also claimed Cohen was the cause of the fall of Roc-A-Fella. Dame challenged the media to question him and other label heads such as Kevin Liles, Julie Greenwald, and Todd Moscowitz about their roles in changing Hip Hop.
The longtime industry insider has finally given a rare interview. Cohen was a guest on the Rap Radar podcast, and the current 300 Entertainment (Fetty Wap, Young Thug) executive addressed Dame referring to him as a “culture vulture.”
It actually doesn’t bother me. It would bother me if it came from a credible source. If it’s a credible source, then we can have a conversation and actually have a discussion. If someone thinks something about me that I may have done to offend them or hurt them or do something they misunderstand, then we’ll have a dialogue. We’ll communicate and get to an understanding and move on, or not. But I can’t give any light to that. It’s a clown right now.
A new study in the journal Nature Communications has found that sperm whales communicate using vocalized dialects specific to organized clans, a social act that offers evidence of a shared culture within which the whales learn new things and adopt behaviors from one another. What do you think?
By CRACKED Readers Published: August 24th, 2015
WASHINGTON—After revelations emerged regarding the online retailer’s cutthroat office environment, Americans across the nation expressed outrage Wednesday that Amazon’s punishing workplace culture had yet to result in same-day shipping for every single available product. “They have 50,000 employees working 85 hours a week, and I still have to wait at least until tomorrow to receive my Pacific Rim DVD?” said Chelmsford, MA resident Jordan Krause, who was among the millions of customers shocked to learn that same-day shipping was not a universal feature of all Amazon merchandise despite the company’s alleged harsh and exploitative workplace culture. “Employees hardly have any time to see their children, but somehow they can’t get me everything I want the very day I want it? What kind of company are they running over there? Bet I’ll also have to sit around a full 24 hours for this electric …
We take a look at some bands who’ve swiped their names from the pop culture collective consciousness.
From the near-beatification of Caitlyn and the aggro ascent of the Donald to the comedown of Gawker and Cosby, the year’s top “hard news” headlines have spun straight from the gossip cycle, as both targeted and targeters deconstruct the digital churn that drives media now.
“Calling all Miley Cyrus and Taylor Swift fans: Shots have been fired, this is not a drill.” That’s pretty much been the reaction of the Internet this week, after Cyrus gave an interview with Marie Claire, in which she called out Swift and the hypocrisy of the music industry’s sex/violence paradigm, as illustrated in her “Bad Blood” video. “I don't get the violence revenge thing,” declared Cyrus. “That's supposed to be a good example? And I'm a bad role model because I'm running around with my titties out? I'm not sure how titties are worse than guns.” YouTube: Taylor Swift – Bad Blood ft. Kendrick Lamar Cyrus has a point: The double-standard between sex and violence in American pop culture has been well-chronicled. But her invocation of Swift to make her point is still frustrating, because it feels like the beginning of just another celebrity feud. In music today, celebrity feud culture has somehow overtaken the industry, tearing down artists and distracting us from their work.This isn’t exactly a surprising turn of events. Best friend-collector that she is, Swift has been involved in a rather high amount of disagreements lately. Things bubbled over in last month’s Nicki Minajincident, wherein Minaj expressed her distaste with the lack of black women nominated at the MTVVMAs. Swift, apparently seeing this as a personal attack on her, responded indignantly. She eventually apologized, and it’s been radio silence between the two ever since. But not before Katy Perry, widely acknowledged as the target of “Bad Blood,” threw some not so subtle shade at Swift on Twitter. Finding it ironic to parade the pit women against other women argument about as one unmeasurably capitalizes on the take down of a woman…— KATY PERRY (@katyperry) July 22, 2015The feud didn’t stop there, amidst rumors that Rihanna was preparing a T-Swift diss track of her own. Even Canadian pop singer Carly Rae Jepsen was briefly thrown into the fray, when fans freaked out over the release of her single “Warm Blood,” and began contrasting it with Swift’s aforementioned anthem. As the Daily Dot’s own Alexandra Samuels notes, labeling the exchange as a “feud” isn’t necessarily fair, because it suggests that women like Minaj and Swift are not capable having a rational discussion about the state of entertainment. “The media's tendency to reduce serious arguments between women to petty quarrels is problematic, because it casts aside women like Minaj as ‘haters,’ rather than as creative minds who are also cultural influencers,” she writes. There is an intelligent debate to be had regarding representation in the music industry, and Minaj and Swift gave us a chance to have it. But in painting it as nothing but a “cat fight,” the message got lost on the Internet. @taylorswift13@NICKIMINAJ I was enjoying the cat fight! 🙀😿— Shanjid Alam Violet (@ShanjidAlam) July 24, 2015However, men aren’t any less susceptible to music’s celebrity feud machine, as evidenced by the recent back and forth between hip-hop artists Drake and Meek Mill. After Meek Mill took to Twitter to call out the Canadian rapper for using a ghostwriter on his contribution to Meek’s recent album, fireworks went off. What commenced was an exchange of diss tracks and tweets. This led to Drake’s seemingly triumphant performance at OVO fest in Toronto, where the crowd reveled as he took to the stage and projected a series of memes making fun of his aggressor.In painting it as nothing but a “cat fight,” the message got lost on the Internet. Feuds, or “beefs,” as the genre would oft describe them, are a tricky subject in hip-hop, because they are a major part of its history. In the past, feuds have elevated all parties involved to reach new creative heights. Look at the feud between Big Daddy Kane and Rakim, two hip-hop pioneers who exchanged subtle disses for years, determined to prove not just to each other that they were the best—but to themselves. But hip-hop’s most famous feud, the east coast/west coast dispute between Tupac Shakur and The Notorious B.I.G., ended up with blood being spilled on both sides: Shakur was shot dead in 1996, and Biggie was gunned down less than a year later.So without a doubt, competition in hip-hop is a mixed bag. In between his dual masterpieces Good Kid, M.A.A.D City and To Pimp A Butterfly, there was hardly a more exciting moment for hip-hop in 2013 than when Kendrick Lamar famously called out all his major rap peers on Big Sean’s “Control,”—including Big Sean himself. And when beef began to brew between Lamar and Drake that same year, it appeared as if everyone was going to emerge a winner. Here were two artists at the peak of their powers, each striving to be at the top of their game.YouTube: Big Sean – Control f. Kendrick Lamar & Jay ElectronicaThe Meek Mill/Drake feud, on the other hand, turned into something completely different. Regardless of whether Meek’s allegations against Drake were true, they were complicated by the fact that he was dating Drake’s labelmate, Nicki Minaj. And given that Drake was the more famous rapper, Mill received much harsher treatment from the media—and from the Internet, in particular. While the memes making fun of him started out as lighthearted and kind of funny, they quickly turned ugly on multiple levels. Pitchfork’s Meaghan Garvey asserts, “There was a distinct moment during the OVO Fest set where things immediately flipped from corny but ultimately harmless to legitimately toxic: an unfunny, badly-edited image of a bride and groom, with Nicki’s head edited onto the man and Meek’s onto the woman.” YouTube: Drake Performs "Back To Back" At OVO Fest 2015 (Meek Mill Diss)The feud was no longer about a competition to determine who was the better rapper—it was about sexism, masculinity, and the media’s unquenchable thirst for blood, the desire to see one person crowned a victor, standing over the carcass of the other’s career. Neither party came off looking great, and Drake especially did damage to his reputation as a sensitive and thoughtful rapper, all in some arbitrary struggle to win the Internet.While the memes making fun of him started out as lighthearted and kind of funny, they quickly turned ugly on multiple levels.The most fundamentally frustrating thing about celebrity feuds between musicians is that they distract us from the actual music. It has become impossible to talk about about popular artists without also discussing their personal lives. While an artist’s personal life can occasionally inform how we think about their music, it shouldn’t define it. Take Kanye West, for example. No matter how many awards and prizes he receive and how matter how much acclaim he accrues, there are some who will always see him as Kim Kardashian’s asshole husband. That’s what the resistance to having him play at the Glastonbury Festival and Toronto's Pan American Games was really about—not being able to see past the celebrity to the talent. The worst of all possible outcomes manifests in the trend of music journalism being covered like “lifestyle reporting,” as was first highlighted in Ted Gioia’s now infamous op-ed piece for the Daily Beast. I’ve just spent a very depressing afternoon looking through the leading music periodicals. And what did I learn? Pretty much what I expected. I found out what the chart-topping musicians are wearing (or, in many instances, not wearing). I got updates on their love life and learned whose marriages are on the rocks. I read updates on the legal proceedings of the rich and famous. I got insights into the food preferences and travel routines of megastars. Gioia can’t help but come off as a kind of cranky old man here. But while he’d be wrong to buy into the idea that pop music is worse today than ever before (a frequent trope in cranky, old man thinking), he’s correct in his observation that now more than ever before, we’re more focused on the artists than we are on their art. The trade-off is that on the Internet, we have more ways to feel connected to our favorite musicians, but we’re also inundated with invitations to stare one-sidedly into their personal lives, criticizing their every move from afar. When we follow artists on Instagram and Twitter, we think we get a sense of who they really are. But we forget that the best way to get a sense of who an artist is comes from listening to their music. Music has not gotten substantially worse in recent years, but music feuds have. And this is not good. It’s not good for women, it’s not good for men, and it’s not good for music in general. But most of all, it’s not good for us, the listeners.Chris Osterndorf is a freelance journalist whose work has appeared on websites such as Mic, Salon, xoJane, the Week, and more. When he’s not writing, Chris enjoys making movies with friends. He lives in Los Angeles.Screengrab via DrakeOfficial/YouTube
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Taylor: Winning culture a main focus for Garrett
ESPN.com – NFL
Bulls dismiss Thibodeau, strive for new ‘culture’
ESPN.com – NBA
No one can predict just how well a great song will perform in future years and that can be applied a million times over for Coolio’s “Gangsta’s Paradise.” Released in 1995 for the Dangerous Minds’ soundtrack, the song has taken on a pop culture significance that honestly does match the track’s hard aesthetic. Twenty years later, the OG Compton rapper is still eating off the fruits of its labor.
Actress Brittany Snow recently stopped by stopped The Ellen Show to promote Pitch Perfect 2 and admitted that “Gangsta’s Paradise” was her “go-to” song. In all her Anglo-Saxon glory, she performed the Grammy Award-winning hit to prove there were no boundaries the song couldn’t eclipse.
Flip through the gallery below to see all the other places Coolio’s “Gangsta’s Paradise” popped over the years where you least expected it to.
The post A Visual History Of Coolio’s “Gangsta’s Paradise” In Pop Culture appeared first on Hip-Hop Wired.
The “DeflateGate” controversy in New England resurrected questions former Carolina Panthers general manager Marty Hurney had about the Patriots after losing Super Bowl XXXVIII.
ESPN.com – NFL
By Tim Ghianni NASHVILLE, Tenn. (Reuters) – Happy birthday to the King! Elvis Presley would have been 80 years old on Thursday, an occasion that will be marked with a multi-day celebration in Memphis, Tennessee at his Graceland mansion. The party will include birthday cake, movie screenings and an auction of artifacts like his first driver's license and first acetate recording. Even though he died in 1977, Presley remains one of the best-selling artists of all time and still deserves the title of the "King of Rock and Roll," according to fellow musicians and fans. …
American Horror Story: Freak Show (which airs Wednesdays at 10 on FX) is set to wrap soon, with only three more episodes left in the season. This installment is set in the early 1950s, which was an era generally characterized as conservative and repressive, prone to McCarthyism, racial segregation, and female domestic confinement. As such, it’s appropriate that the season arc concerns itself with the topic of “freaks,” being set in such a traditional era.
The season also explores classism and social privilege, with the affluent mother and her sociopathic, spoiled son. They live in obscene wealth, with sprawling manors displaying both their decadent splendor that their affluence provides, as well as the emotional distance, isolation and subtle yet divisive separation in their familial relationship. The son, Dandy Mott, is the epitome of the excesses of wealth and privilege taken too far to its detrimental conclusion. Dandy is apparently incapable of finding satisfaction in anything. The world is seemingly at his fingertips, and yet he’s consumed with a constant, gnawing feeling of ennui and Feminine Mystique housewife-like malaise. The only way he’s able to slake his boredom is through murder.
In one episode, in a scene classically indicative of the urban legends/cautionary tales-of-morality format, a pair of teenage lovers are about to have sex in a park when they are interrupted by a homicidal, maniacal clown bent on a murder rampage. The boyfriend is brutally stabbed to death (which is a phallic, penetrative symbol akin to sex itself) and the girlfriend (with her classic girl-next-door, blonde-haired and blue-eyed features) is taken hostage by the clown and imprisoned, along with a young boy. The couple is punished for their loose or lack of appropriate sexual mores, a la the custom of anyone who drinks, does drugs, has sex or engages in any other “wild” behavior always dies in horror films. The young boy represents the impressionable, vulnerable, wholesome young children of America collectively at large. As such, his danger and imprisonment reflects the fear that’s instilled and instigated whenever seemingly morally questionable or taboo, controversial behavior is displayed. From the War on Drugs to gay marriage to sex education and abortion, the question is always, “what about our nation’s children?” It’s what’s always called upon as reasoning or explanation for a necessary traditional, conservative schema or paradigm. Thus, the clown (symbolic of deviance, nonconformity, and shock-and-horror-eliciting reactions) threatens America’s children.
An interesting aspect to the character of the murderous rich kid Dandy Mott is that he wants to run away and join the circus. He’s ostensibly the most “normal,” WASPish person around, and yet he feels like he’s painfully different (which, in a way, he is). He teams up with the unhinged clown in a spree of murder, torture, kidnapping and imprisonment. It’s worth noting that all the killers are white male characters (the rich kid, the strongman, the con man, and the clown). Thus, evidently the real dangers to society are those at the top of the social hierarchy, those whom appear to be innocuous and hide in plain sight. As current events have shown, this is a woefully true observation.
The homicidal rich kid’s sociopathic nature is presented as being due to inbreeding of affluent families, and apparently his father had the same psychosis. His psychotic nature is looked at as being a sign of his familial prestige. His mother even tells him, “These mental perversions are an affliction of the extremely affluent… It becomes a rite of passage to have a psychotic or two in the line. Jack the Ripper was a Windsor, for god’s sake.” He also has an unnaturally close relationship to his mother; his character is very reminiscent of Norman Bates from Psycho and Bruno from Strangers on a Train. He desperately wants to be an actor, is effeminate and melodramatic, prone to bratty histrionics and temper tantrums. There is an inferable gay vibe to his character, yet again equating nonheteronormativity with pathology and psychosis. At one point, he says (in a workout scene recalling American Psycho), “This body is America: strong, violent, and full of limitless potential.” It seems to be a succinct summation of the dark nature of American capitalism and imperialism. His wealth essentially ensures his legal insulation or clemency. It’s a pay-to-play legal system wherein those who can afford to hire the most skilled and most expensive lawyers have a much better chance in court. Plus, as recent current events have sadly shown, there’s an inherently institutionalized racism to the so-called justice system. After discovering Dandy Mott’s true nature, Gabourey Sidibe’s character brings a cop to his manor to arrest him. Dandy Mott offers the cop $ 1 million to shoot her, which the cop does without the slightest hesitation. The scene is a scathing yet all-too-true indictment of American corruption, greed, racism, yuppie culture, and ruthless capitalism. Evidently, these “American horror stories” are truly American in essence and consequence.
Entertainment – The Huffington Post
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(AllHipHop News) The arrest of Bobby Shmurda has been one of the biggest rap related news stories of the week. The “Hot N***a” performer being charged with gun possession and conspiracy in New York has garnered a lot of opinions from people associated with the Hip Hop community.
[ALSO READ: Bobby Shmurda To Be Indicted On Gun Charges]
Shmurda’s label representative Sha Money of Epic Records issued a statement, Maybach Music Group rapper Meek Mill chastised the public for making fun of the Brooklyn native, and now James “Jimmy Henchman” Rosemond is offering his thoughts on the matter. The incarcerated former artist manager reached out exclusively to AllHipHop.com to address the 20-year-old entertainer’s latest run-in with the law.
“With everything happening with Bobby Shmurda there’s a need for a rap expert on deck, because the culture is under attack,” Rosemond tells AllHipHop.com. “If they can use 50’s lyrics against me as an executive to prove murder then we all in trouble.”
Earlier this month, Rosemond was convicted of hiring a gunman in the murder plot that left G-Unit associate Lowell “Lodi Mack” Fletcher dead in 2009. The killing was allegedly connected to the street war between 50 Cent’s G-Unit and Rosemond’s crew.
According to reports, Shmurda previously stated he felt New York City police were targeting him. Earlier this year, he was arrested for another gun possession charge, and later arrested again for smoking weed in public. In October, Shmurda even taunted the NYPD in an Instagram post. He wrote, “So da bum ass cops locked me up yesterday Fa some bulls**t made me miss.”
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