2010 Mega Mix n Mash

A journey to the Mainstream featuring:
Ying Yang Twins – Wait
Swizz Beatz – Money in The Bank
Lil Wayne feat. Gucci Mane – We Be Steady Mobbin
TI – What You Know
Iyaz – Replay
Eminem – I’m Not Afraid
B.o.B – Nothin’ On You ft. Bruno Mars
50 Cent – Baby By Me ft. Ne-Yo
Drake – Over
Chris Brown Ft. Lil Wayne & Swizz Beatz – I Can Transform Ya
Wiz Khalifa – Say Yeah
GS Boyz – Stanky Legg
Ludacris – My Chick Bad ft. Nicki Minaj
Far East Movement – Like A G6 ft. The Cataracs, Dev
Nicki Minaj – Massive Attack ft. Sean Garrett
Birdman – Money To Blow ft. Lil Wayne, Drake
B.o.B – Airplanes ft. Hayley Williams
Iyaz – Replay

The Complete History Of Nicki Minaj and Cardi B’s Relationship

The Complete History Of Nicki Minaj and Cardi B’s Relationship – Capital XTRA

13 Most Epic Nicki Minaj Raps

Remember a few years ago when Nicki Minaj released a song called “Anaconda”? You probably do. I’m not quite sure how you could forget that her anaconda don’t want none unless you got buns, hun. Well, Nicki just told Dazed that her next era of music is going to be “a billion times more epic than anything ‘Anaconda’ could have delivered.” That’s a pretty bold claim, even for someone as wild as Nicki.

1. Super Bass

“Super Bass” is probably the first song by Nicki that you learned (or tried to learn) all the words to, and you couldn’t figure out why but you just couldn’t stop watching her hypnotic blinking in the music video.

2. Starships

Another one of those early Nicki Minaj songs that solidified all of us as Barbz as we desperately tried to rap along with her.

3. Monster

Let’s be real. Nicki’s verse in “Monster” is the only part of the entire song that matters. That’s why everyone from Adele to Millie Bobby Brown (Eleven in Stranger Things) have tried their hand at this monster of a verse.

4. Flawless (Remix)

Now, we all know that Beyonce, and this song, are flawless. It’s hard to imagine anything that anything could make a song by Queen Bey better, yet somehow, Nicki does it.

5. Bottoms Up

Nicki is only on this song for a total of 45 seconds, but she manages to steal the entire song. All of the voices that she manages to fit into less than a minute make her seem like a cartoon, but her flow is unmatchable.

6. Feeling Myself

Nicki and Beyonce are clearly the perfect duo. If you’re not feeling yourself while listening to this song, there’s a serious issue.

7. I’m Out

Nicki’s verse on Ciara’s 2013 single is, to put simply, aggressive. It was really easy to sleep on this song, but it’s impossible to ignore Nicki’s bars.

8. Anaconda

Nicki took this classic Sir Mix-a-Lot track and turned it into one of the biggest rap songs of all time. In many ways, this song started a cultural phenomenon. Butts always existed before this song, I mean, she sampled “Baby Got Back,” which is entirely about butts. But after “Anaconda” was released, the entire world realized the value of their backside.

9. Bedrock

We all know Nicki is a proud member of the Young Money crew along with Drake and founder Lil Wayne. Nicki’s “Bedrock” verse proved that she can out rap all of the boys and look great while doing it.

10. Beauty and A Beat

After the Biebs released this song back in 2012, Nicki had the entire world “keeping an eye out for Selener.” We just couldn’t help ourselves.

11. Roman Holiday

Nicki’s performance of this song at the Grammys caused quite a stir. But at the end of the day, it’s hard to pretend like this song isn’t anything less than fantastic. In this song, Nicki tells the tale of her alter-ego Roman Zolanski, who she describes as a “lunatic” and “a demon inside her.” Roman very well might be a demon, and countless soccer moms felt that way after the Grammys, but he is one talented rapper.

12. Bang Bang

“Bang Bang” showed us all what we all already knew. Even when on a track with two of the biggest popstars in the world, Jessie J and Ariana Grande, Nicki can hold her own and steal the show.

13. Side to Side

Clearly, Beyonce isn’t the only person Nicki works well with. Her second song with Ari was a huuuge hit. Nicki is the queen of shoutouts, and the line “Curry with the shot, just tell them to call me Stephanie” is iconic. And in case you were doubting that Nicki is in fact, the Queen of Rap, she claims her crown in her final line “I’m the queen of rap, young Ariana run pop.” So it’s pretty hard to dispute that.

How Nicki could possibly top all of that, but especially Anaconda, is hard to picture. I guess we’ll all just have to wait and see what tricks she has up her sleeve.

Esperanza Spalding’s 77-Hour Livestream: Interview About Recording Marathon, Sexism & Nicki Minaj

The time is 10:31 p.m. ET on Wednesday, September 13, 2017, and 2.3k people are tuned in to Facebook Live as Lalah Hathaway records a haunting, wordless melody for Esperanza Spalding’s new album Exposure. A scene that would usually last days or weeks and be witnessed only by assistants, engineers, and maybe a couple friends is instead put on display to the world for the hour or so it takes to complete.

The expedited pace comes thanks to Spalding’s self-imposed deadline: 77 hours to compose and record one new studio album. The livestream was to preserve authenticity, from both Spalding and her label (can’t cut a song if the whole world’s already heard it). 34 hours in, the studio is humming as friends like Robert Glasper trickled in, and her bandmates loitered in various studio lounges waiting for the vocal takes to wrap. Cameras in all corners of the studio capture the entire process, including the requisite snacks and naps. Online, reactions roll in to Hathaway’s always-impressive voice. “Yo, I’m so shook rn,” one reads. “There are no more words for how my soul is smiling,” reads another. “When’d you write this?” Glasper asks as he brings a piece of music to the piano. “This morning,” says Spalding, chuckling.

Following the conclusion of her livestream experiment, the renowned bassist, singer, and composer spoke with Billboard about the unorthodox process for recording her sixth studio album, which will be released by Concord this fall.

We’re speaking exactly a week after you started recording Exposure. How do you feel? Was the process exhausting or invigorating?

It was super-invigorating. I mean, my body is tired — I think I lost like five pounds in there, burning so many brain calories. We didn’t know what it was going to look like, but it was so clear to everyone that we were coming in to create. That took precedence over everything: fears, concerns, all of that. That was kind of the mission: to take all the extraneous factors away from the art of creation. And it happened. Now I’m in Philadelphia for work, I have writing to do for a gig coming up this weekend — the momentum is still tumbling forward.

That’s a pretty impressive schedule!

I mean, the mission isn’t to be impressive, it’s just…my job, you know? When a brain surgeon saves somebody’s life or completes something they’ve failed at before, it’s not like they take two weeks off from work to kick back and recover. That’s your job! Your job is to perform. My job is to make and create, and it only works if I do it all the time. So this is what it is.

Once you have the momentum, you have to capitalize.

Use it and juice it. I assume we’re talking about creative momentum here. There’s nothing outside of you that’s propelling you forward — if you set up the circumstances and decide on what your own stakes are, you create the momentum to move towards your mission. That’s really all you need. We saw that with Exposure.

We had a lot of support: a studio, a film crew, assistants… but if all you’re doing is creating, you don’t need anything. You don’t need any money, you don’t need any tools, you don’t need anybody to believe in you. You just start, with whatever resources you have. The act of creating is making something from nothing — so you don’t even need momentum. You can feel dead tired and uninspired, and still create. It’s amazing.

That’s a great way to put it. I’ve had people ask, “How do I become a writer?” and the answer is, more or less, you just have to do it.

Yep. There’s no secret. Before you start, everyone says there’s no secret and you’re like, “Come on, you guys are holding out — you’re not telling us something.” Then you start writing, and you’re like, “Oh.” The whole thing is just harder than you think it is. There’s no secret, no shortcut. Once you accept that being a writer or a creator is just really hard and takes a lot of hours of slogging through crappy first drafts, you just keep producing, and then you turn around and it’s done. That’s the magic.

There were some people who suggested that recording your album Exposure in 77 hours might be a gimmick, which surprised me since it seemed like an escape from social media — a concentrated amount of time to focus completely — as much as an embrace of it. What was the main motivation for broadcasting the recording process for you?

For me it was about not hiding, and creating as my actual self — the best that I could muster of my actual self. For that to mean anything, there had to be a real audience and it had to include strangers; people who hadn’t already paid $50 to hear me perform. It needed a witness. Having a witness helps us know that the stakes are real, and that we really have to do this because people are watching. We can’t be like, “Oh, I don’t like this one, I’m going to stop.” We have to keep going, because people believe in us, and they’re waiting for us, and they’re with us. It felt like we were all in it together.

The fact that anybody who was interested (or not interested) could watch this happen, was part of the healing of it. [In doing the livestream,] I’m not just making things for the people I presume already want them, and I actually have no way of knowing what the people watching want — so what I make can’t be catered to them. It was a way to have an exchange that was outside of the commodity-based economy. An opening to have a shared experience.

It’s very similar to live performance in the sense that you have to keep going, because we’re all there to have a forward-moving experience. It’s hard to talk about what we all went through together — if you saw it, you know.  The more I talk about it, the further I feel from it. It just seems small-minded to say that it’s a gimmick, or a jazz thing. When I hear that, I think, no, you’re just scared. There’s actually a lot to be learned and taken away from this event.

I already know what it means to me, but I think there’s more in there to be unpacked. I almost wish other artists and musicians would speak about it and to it, question it and challenge it. I’ve kind of said everything I can say about it by doing it, and speaking about it now feels cyclical and away from the point of the damn thing. The point of the damn thing was the thing.

Do you plan to perform this music live?

There will definitely be more performances. I like the music we wrote, and I didn’t know if I would. But I really love it, so I want to play it some more.

Did you write anything for the album that surprised you?

Yeah, all of it. I practiced this mode of writing — obviously we didn’t write any of the songs that happened during Exposure — but I realized the night before I went in the studio that I hadn’t actually finished one song fast enough to get 10 done in three days. I got really nervous, and felt like I’d made this promise that I couldn’t live up to. So really, as each one came, I was surprised that we’d actually done it.

In interviews leading up to the album, you used a few different sports metaphors. To me, it seemed like you were departing from the idea of being a musician training to perform (as all musicians do) to being a musician training to compose.

That’s it. The energy of being in shape, but not knowing what we’re going to be responding to (while still understanding the mission as a team) — I bet any athletes out there who are also musicians (or vice versa) would understand that sentiment. You step in, and you’re prepared — you’ve got your plays — but you don’t know what’s going to happen! The muscles are all primed to move in an infinite combination of ways, and you depend on your creative brain operating in real time to come up with solutions and to make it entertaining! It’s not about flawless execution, it’s about the game of it. It’s supposed to be fun.

Obviously beating Justin Bieber and Drake for the Best New Artist Grammy in 2011 is pretty far in the rearview for you at this point — how do you see your connection to popular culture now?

I mean, I care about the act of making sounds and the creativity that goes into it. I enjoy hearing what people come up with, even when it’s within a very established sonic aesthetic. I’m not an avid music consumer in any direction, including “less” “commercial” “forms” of “music” [Laughs.] I like to imagine that even if the culture-consuming populace-at-large doesn’t like what I do or cheer for it sonically, that there’s a certain appreciation for the fact that I’m doing it.

The whole Grammy thing will just exist in history as an anomaly. I got a couple more Grammys after that… I made good records, but part of me thinks that they were just trying to make [the first win] not look so random [Laughs.]

Are there pop artists you listen to?

It’s no surprise that I thought that last Childish Gambino record was ingenious. I like the Mars Volta. LCD Soundsystem — I heard them at a museum in Portugal, and I was like, “Word? These guys are glorious, where have I been?” That’s what jazz will do to you: you spend so much time transcribing… in the amount of time it takes for a jazz musician to transcribe ten seconds worth of a solo, most people have listened to three albums. It’s ridiculous. That’s the downside of being a student of that pedagogy.

I think Nicki Minaj is a champion of our time, I really do. It’s exciting to imagine, in 40 or 50 or 60 years, when students will be analyzing her business acumen and how she created personas and sounds… just her use of language. She’s such a bright star that I think the genius of her approach is overlooked. I just always assume that powerful black women are never fully seen for what they’re actually doing. People appreciate the results but not the method.

At some point when I’m at Harvard, I’ll probably do a paper on her. I hope I get to interview her and learn more about her tactics. What I hear is a fucking tactical motherfucker. Like, a genius. I really admire her. She is so deep. She’s a boss, she knows exactly what she’s doing, and I really love her. I’m looking forward to when she has a couple kids and is just chilling at home on a weekend, and I’ll go interview her for my research paper.

Sort of in the same vein, I got to see you perform with Geri Allen and Terri Lyne Carrington a couple years ago — an all-woman band. What you guys played hit me in a way I wasn’t expecting, and the energy was just really unique. Is that something you felt at all with that band? Is playing with exclusively women different at all for you?

There’s no energetic boundary. That is different. It came up peripherally in conversation with Geri, but mostly speaking for myself: We didn’t realize that we always hold this boundary around our bodies, and our language, and the way that we greet our bandmates, and the topics that we’ll delve into — all because on some level we’re conscious of not triggering or feeding a sexual dynamic, a traditional, conditioned relational dynamic. We’d all worked with, grown up with, and studied with men from a generation that saw all women as potential objects for sex, or just generally as subordinates — whether they were conscious of it or not.

Playing with Geri and Terri, there was the distinct feeling of something falling away. Energetically, emotionally, and physically, we would go anywhere with each other. We just felt 1000 percent free, and open, and heard, and received, and I think that expresses itself in the music somehow. I don’t know how — it would be interesting to see a brain scan, if there are any actual differences in our process for communicating [laughs]. I think we all were pleasantly surprised to discover what it feels like to just be completely uninhibited. It was really refreshing.

It actually made me aware of how much, in a lot of contexts, I am sort of…bracing. I got so used to it I didn’t realize I was doing it, until I played with them and went, “Oooooh OK.”

And also, even though all three of us have very different personalities, as women in this music we’d experienced a very similar path. It can be really lonely to be a young woman in the music industry. We all had gone through a lot — Geri more than Terri, and Terri more than me — and when we played, there was this understanding of a common experience that we’d all lived. Never spoken of. But I think you could feel that, and I think that’s something special to Geri, Terri, and me — not necessarily any three women playing together.

In an interview with Larry Wilmore last year, he asked if you’d choose to end sexism forever, even if it meant you had to shave your head and give up music. He seemed surprised that you said yes. How do you see sexism in music and beyond actually ending?

I think it’s less about sexism, and more about transforming the ideology that people are tools. Women in power in the music industry can be just as exploitative of other women and their sexuality as a man can — if the mission of exploiting them is to make a dollar. It’s our shared responsibility to stop using people, and to stop assuming that ther e’s any type of person that it’s ok for us to use or treat as less than.

I’m excited to hear more and more people speak to that level of deprogramming instead of just, “Let’s make sure women can get the jobs men hold.” That’s great and important, let’s absolutely share the burdens of this economy, but as important is remembering that more broadly inequality is our shared responsibility. As [German philosopher] Erich Fromm would say, it’s about treating people as ends, not as means.

Lil’ Kim – Black Friday The Mixtape (FULL ALBUM) [CDQ]

I don’t own any music , all music belongs to Lil’ Kim and the producers , labels , and artists involved
1) “Intro”
2) “Pissin’ on ‘Em” sampling Nicki Minaj’s Did It On’em
3) “Champagne Poppin’” (featuring Wiz Khalifa)
4) “Hustle Hard” sampling Ace Hood’s Hustle Hard
5) “M.O.E.”
6) “Killin’ ‘Em” (featuring Fabolous) sampling Fabolous’s You Be Killin’ Em
7)”6 Foot Tall” sampling Lil’ Wayne’s 6 Foot 7 Foot
8) “Clap, Clap” (featuring I.R.S.)
9) “Kimmy Girl” (featuring Keri Hilson) sampling Keri Hilson’s Pretty Girl Rock
10) “Gimme Brain”
11) “Cheating” (featuring Rihanna) sampling Rihanna’s Man Down
12) “Exclusive Radio Interview”
13) “Grindin’ Makin’ Money” (featuring Birdman & Nicki Minaj)
14) “Racks” sampling Yung Chris’s Racks.
15) “Pussy Callin’” (featuring Lil Boosie)
16) “Black Friday”
17) “Faded” (featuring Red Café & Rick Ross)
18) “IRS Freeestyle”
19) “Lights, Camera, Action” sampling Kanye West’s All of the Lights
20) “Buy U Music” (featuring Keri Hilson) sampling Keri Hilson’s Buyou

Video Blendz Vol. 11

Young Money f. Tyga, Nicki Minaj & Lil Wayne – Senile
Michael Jackson & Justin Timberlake – Love Never Felt So Good
Jennifer Hudson f. T.I. – I Can’t Describe (The Way I Feel)
Beyonce – Blow
Naughty Boy f. Sam Smith – La La La
Robin Thicke – Feel Good
TGT (Tyrese Genuwine Tank) – Sex Never Felt Better
B Smyth – Twerkoholic
Shanell ft Yo Gotti – Catch Me At The Light
Young Thug – Stoner
Snootie Wild ft. Yo Gotti – Yayo
Rich Homie Quan – Party
ScHoolboy Q – Banger (MOSHPIT)
DJ Drama ft. Wale, Tyga, & Roscoe Dash – So Many Girls
K Camp f. 2 Chainz – Cut Her Off
Beyoncé ft. Jay-Z – Drunk In Love
DJ Snake f. Lil Jon – Turn Down For What
Beyonce Vs Lumidee – Uh Ohh Single Ladies
T.I. ft. Jay-Z – Bring Em Out
Usher – Good Kisser
Chris Brown f. Lil Wayne & Tyga – Loyal
Mack Wilds – Henny

Mac x Nicki Minaj Nude Lipsticks Are Surprisingly Wearable

Nicki Minaj has gone nude…with lipsticks, that is.

Given the No Frauds singer’s penchant for pops of color, especially pink, it’s surprising to see the rapper of many multi-colored wigs collaborate with Mac Cosmetics on a set of neutral products. Then again, the slightly suggestive idea of baring those flesh-toned colors is totally Nicki. 

The real question is do the products live up to the hype? Or, do they disgrace the legacy of the celebrity Mac collaborations that have come before it. If it’s the latter, let the glam gods known as Taraji P. Henson, Rihanna and even Selena Quintanilla show mercy.

On Judgment Day, we got our hands on a few samples, and like every celeb beauty launch, here’s our honest review.

First, the real winner of the set—The Pinkprint ($17.50), a subtle bubblegum pink that’s a few (or 10) shades softer than the singer’s flashy, hot-pink Lamborghini or the Barbie-inspired hues we often see her wear. An orange undertone dials the color down, making it a wearable hue without looking too youthful. It’s a color both your high school sister and cool aunt could appreciate. The pigment is not lost in the creamy consistency either; in fact, the formula feels moisturizing, while the finish looks rich.

In the same Nicki Minaj-signed bullet—though this one is chrome pink instead of matte like The Pinkpint—lives Nicki’s Nude ($17.50), a deeper, richer coral-pink. The shade feels more mature, but as wear continues, it fades into a neutral peachy tone that looks natural and fresh. The strange thing is that it’s actually more neutral than Nicki’s bubblegum-pink counterpart, but the latter looks more universally flattering.

Although still vibrant, the products represent a toned-down side of Nicki we may never see. Is this collab worth a try? Yes—not entirely because the singer custom-designed them, but because Mac has perfected a creamy lipstick formula that lasts. The colors just give you options. If neither of Nicki’s lipsticks complement your skin tone, there’s 24 additional nude lipstick and lipgloss hues offered in the collection. The only downside? It could use deeper shades. According to an E! editor with dark skin, Easy Babe, Age/Sex/Location and MMMM are nice, but if you’re looking for a neutral hue darker than your complexion, you may have to test-drive a few other brands. Nicki is all about experimenting, after all.

Mac x Nicki Minaj launched in select stores Thursday and is available online.

Here’s Why Nicki Minaj & Taylor Swift Fans Want To Knock Cardi B Off The Charts

21 September 2017, 12:25

Taylor Swift and Nicki Minaj

Her monster track ‘Bodak Yellow’ is posing a threat…

Fans of Nicki Minaj and Taylor Swift are joining forces in the hopes of keeping Cardi B’s ‘Bodak Yellow’ away from the number one spot.

The rising rap starlet is currently sitting pretty at number two following a steady summer climb, meaning that the track could potentially top the chart in coming weeks. 

However, after the release of her new single ‘Look What you Made Me Do’, Taylor Swift’s loyal fans are determined to see their idol nab the number one spot instead.

In addition, Billboard report that ‘Bodak Yellow’ has also become the highest-charting song by a solo female rapper since Nicki Minaj’s 2014 hit ‘Anaconda’ – which doesn’t sit well with Minaj’s fans.

Despite the Cardi claiming that the rumoured beef between her and Minaj has never gone down, fans of the ‘No Frauds’ star feel threatened by the media’s perception of Cardi as “the next Nicki Minaj”.

In an attempt to dethrone Cardi, Swfities are Barbz are repeatedly streaming ‘Look What You Made Me Do’ in a bid to keep the song at #1.

The fandoms are encouraging each other online using the hashtag #LWYMMDStreamingParty, sharing screenshots and gifs of the ongoing campaign.

However, it looks like Cardi B’s fans aren’t going down without a fight.

The fandom have also taken to Twitter to encourage each other to purchase and stream ‘Bodak Yellow’ in an effort to catapult it to number one.

Nicki, Taylor and Cardi are yet to respond to the efforts.