After five years of hosting music’s biggest night, LL Cool J will be stepping down as host of the 2017 Grammy Awards. He will be replaced by comedian and talk show host James Corden, who has become famous for the Carpool Karaoke series on his Late Late Show.

Recording Academy President and CEO Neil Portnow said of the decision, “Thanks to ‘Carpool Karaoke,’ we’ve all been on some incredible rides with James, and The Recording Academy couldn’t be more excited to welcome his passion and enthusiasm for music, both as an entertainer and a fan, to the Grammy stage on February 12.

“He’s got big shoes to fill after the magnificent run we had with LL Cool J, but James Corden is a commanding, dynamic showman who, we believe, is perfect to host the Grammy Awards.”

Executive producer of the award night, Ken Ehrlich, said that Corden is “a captivating host, and I have no doubt that his musical background, personal charm and comedic instincts will resonate with our audience.”

The news follows Corden’s acclaimed hosting of the Tony Awards back in June, as well as the runaway success of his aforementioned Carpool Karaoke series. According to Variety, the series has achieved more than 2 billion views, and a spinoff series has even been purchased by Apple.

The 2017 Grammy Awards will take place at the Staples Centre in LA on Sunday, February 12 at 8 pm PT. Nominations are yet to be revealed, but one thing we do know is that independent artists who release music for free, or for streaming only, will be eligible for the first time ever thanks to Chance the Rapper.

No Frank Ocean tho.

Image: Variety

LL Cool J has had quite the one-day rollercoaster, with the rapper seemingly going into and coming out of musical retirement in a 24-hour period.

After visiting the Dr. Dre‘s Beats 1 show The Pharmacy, and taking up the microphone to spit some rhymes, the optimistic and nostalgic side of the hip-hop world went wild with self-fanning rumours that the Rock The Bells rapper would be dusting off his Kangol hat and putting in some studio hours recording a new album.

Image: Pinterest

Image: Pinterest

However, not everyone was impressed with the veteran’s rapping ability, specifically quoting the beginning of the freestyle in which Cool J states, “I’m about to make this shit pop off like fish fry batter.”

Yeah, that is pretty shit. Then again, I’m not a rapper and can’t really comprehend the quick reflexes you need in order to perform lyrical acrobatics while maintaining the timing of a beat being laid down by one of the greatest beat makers of all time. Either way, instead of letting it slide and going back to filming NCIS: Los Angeles or planning his next Grammy gig, LL Cool J instead took to Twitter, launching a solid rant that would make Kanye West blush. Here it is in its entirety, as logged by Complex, because it didn’t take long for LL come to his senses and delete the fuck out of those tweets.

The crux of the whole rant basically comes down to LL Cool J saying that he can totally make another awesome album, before saying, “Just kidding yall.. I’m not dropping an album… lol focused on my current endeavors.. but that was a hilarious rant…” He then stated that he “had a wonderful music career” and instructed his fans to “enjoy the classics.”

Image: Rolling Stone

He confusingly followed it all up with yet another tweet, which apparently announced the rapper’s retirement. “Today I officially retired from music. Thank you for the love.”

Of course this also proved to not be true since by that point he had well and truly reached the-boy-who-cried-wolf territory, as not too long after that, LL Cool J pushed enter on another tweet and announced his resurrection from retirement and that he is working on a new album, even sharing a set studio time with us.

Putting aside this totally uncharacteristic, yet very human reaction to faceless internet users dissecting his craft, all signs point to the G.O.A.T rapper cooking something up.

Whether it’s Eminem taking to his Facebook page to condone the pairing of Dre and Cool J by posting, “My mentor with the G.OA.T. what?!?!” or LL Cool J sitting down with HipHopDX and stating that, “I got an itch so crazy right now, I need to find a hydrocortisone connect,” before elaborating that, “I know the Hip Hop culture needs me because there is a void there.”

It appears that the question of a new Mr. Smith album isn’t if, but more accurately when. And with the rap veteran already getting busy in the studio, it looks  to be a lot sooner than you might think.

[youtube https://www.youtube.com/watch?v=c9YHlMaNJnQ]

Main Image: whale

One of the most important and influential producers of all time, Rick Rubin has had a hand in the development of countless artists, albums and entire genres – notably including hip-hop. In a new feature with Rolling Stone, Rubin has broken down his experiences working with a number of artists across the past few decades, including LL Cool J, The Beastie Boys, Run-DMC, Eminem, Jay-Z and more.

LL Cool J was one of the first ever acts signed to Rubin’s then-fledgling imprint label Def Jam Records, which he founded in 1984 with Russell Simmons. The pair worked together on his 1985 album Radio, paving the way for an R&B-tinged form of rap which would quickly become considered somewhat revolutionary in the development of the genre’s countless subtypes. It also kickstarted an extremely successful career for LL, who most recently hosted the Grammy Awards last week.

Speaking about I Need A Beat, Rubin revealed, “It was a beat that I programmed at the dorm room on a DX drum machine. I think that was the first one that we ever recorded with LL.”

“Back then, I would say LL was kind of a nerdy 16-year-old kid. He was really smart, well read. He came to the dorm room and was very motivated. He’s one of the more hardworking artists I’ve worked with, even from then. And I felt like he really kept to himself. He was friendly with the other artists, but I felt like he was a little bit of a loner type guy. He was in his head a lot. It was different than so many artists that were much more outgoing.”

The Beastie Boys’ relationship with Rubin is perhaps one of the most famous of his career, and in the article, Rubin discusses working on No Sleep Til Brooklyn.

“The title came from Adam Yauch,” he began, explaining that Yauch had used the title in a punk rock band he was in before the Beasties.

“All four of us always wrote lyrics and then kind of pooled ideas, and we hung out a lot. We would go out to Danceteria pretty much every night and hang out and come up with lines to make each other laugh,” he reflected.

“I remember there were a lot of really funny lines in that one. It definitely entertained us at the time.”

He talks about how Kerry King of Slayer recorded the track’s monumental guitar solo, and how strange it was for a stanch metalhead to record on a rap track. “I don’t think he liked the song. I think he just thought it was bizarre. He’s a real, serious metalhead. He really loves metal, and I don’t think he listens to much music outside of metal…  At least then he didn’t. I don’t think it spoke to his aesthetic.”

https://www.youtube.com/watch?v=07Y0cy-nvAg

Rubin also discussed the making of Walk This Way, the hit collaboration between Run-DMC and Aerosmith.

“The rest of the Run-DMC album [Raising Hell] had already been finished. I just had a feeling that there was something more that we could do that would help it. It was a funny time in rap music in that the majority of people didn’t understand what it was at all. People didn’t think it was music.” Rubin had the idea to bring the two groups together to help “bridge that gap” between hip-hop and the rest of the music world at the time.

“Getting Steven Tyler and Joe Perry to participate was easy,” he went on, explaining how their recent album had flopped, and they were “really excited to participate in real, urban street music.”

“I remember when we discussed the idea of having Aerosmith come in with the Run-DMC guys, and they were really against it. They didn’t want to say words that they didn’t write. They thought they were kind of like, country. It didn’t relate to their mentality. And I remember Russell [Simmons] called them and said, “Just do what Rick says.””

https://www.youtube.com/watch?v=4B_UYYPb-Gk

Eminem and Rubin have collaborated a number of times throughout the rapper’s extremely successful career, and here, Rubin discusses the making of the Marshall Mathers LP2 standout single Bezerk. “That was a case where Eminem said, “Let’s make one of those old records that we grew up on,”” he revealed – and that feel can be immediately held upon listening. The entire track was programmed, save for Rubin playing guitar, and a sample of a news reported saying “go berserk.”

Eminem recorded the vocals to the track entirely alone, without anybody else watching. “Once he raps to a beat, you can’t change anything. It’s almost like all the drops, all the moves in the song have to happen before he writes to it because he writes into the music in a way that makes it hard to change anything after he raps. He uses his voice as another instrument that plays off of all the different rhythms going on in the track.”

“He’s a real, unbelievable student of hip-hop. He’s maybe the most obsessive artist I’ve ever worked with in terms of someone who just full-time is writing rhymes. It’s what he does.”

https://www.youtube.com/watch?v=ab9176Srb5Y

One of the most insightful tracks Rubin breaks down in the article is Jay-Z’s smash single 99 Problems.

“Jay Z was coming out of retirement and asking different producers that he liked to each do a track,” he began, before revealing that the song’s inspiration came from Chris Rock, who had pointed out that Ice-T also had a track titled 99 Problems. “The idea was, it’s the opposite song. In the Ice-T original song, it’s all about the girls. Our idea was, “OK, this will be a song with the same hook about the problems.””

Jay-Z wrote the verses in “about half an hour,” before going on to record and re-record every single part numerous times. Each time he recorded it, “the inflection and flow would be different.”

“He said it was the first time he had ever physically wrote anything down before for any record. He was just very inspired by that beat, and it was a miraculous thing to behold.”

 

https://www.youtube.com/watch?v=32Xh9L-AqA8

Read the full article on Rolling Stone, which also features Rubin delving into his work with artists including Johnny Cash, Tom Petty, Queen, Slayer, Danzig, Red Hot Chili Peppers and Black Sabbath.

Image: TheSocialMediaSamurai 

The Grammys are once again on the horizon, with everyone’s favourite gangster rapper LL Cool J returning to host for the 5th consecutive year.

LL Cool J, who isn’t a stranger to being an MC, whether that be on the prestigious Grammy stage or on the surprisingly successful show Lip Sync Battle, had this to say about reviving his role as master of ceremonies, “I’m honoured once again to host Music’s Biggest Night as we celebrate the talented music creators of today. It’s going to be an incredible night and I’m excited to share this experience with the world”.

Although neither the award presenters nor the arguably most exciting part of the Grammies, the performers, have been announced, this year’s awards unsurprisingly look to be all about Kendrick Lamar, with the artist out in front with 11 nominations and Taylor Swift and The Weeknd trailing behind with 7 nominations apiece. With no Macklemore in sight and To Pimp A Butterfly being possibly the most influential album of this year, if not ever, it will be interesting to see how the Grammys manage to weasel their way out of this one.

Without the ceremony even taking place, the Grammys have already managed to spark a bout of controversy, debate and confusion in the hip-hop community by nominating the diss track, Back to Back by Drake for ‘Best Rap Performance’. In the event that somehow the Grammys do manage to give out awards to all those deserving, there’s always that to remember.

The Grammys will air Monday, 15th of February, 2016, and hopefully L will absolutely knock them out the box.

https://www.youtube.com/watch?v=oVDfyc2lh4Q

Action Bronson has found himself at the centre of a veritable shit-storm when a bunch of angry Canadians trawled through his back catalogue to unearth the appallingly titled B-side Consensual Rape. Because of the existence of the song (which has never been performed live) Bronson’s NXNE performance on public property was cancelled. Whilst the title is undeniably crap, the songs actual lyrics are relatively tame for a rap song. Consensual Rape begins with the muttered words “fucking drug shit, do the drugs…” which subtly hints that a) this is probably not a person to be taken too seriously, and b) if you’re offended by drug use, Bronson is probably not going to be your cup of decaffeinated tea. Rap is a genre known for being controversial, for being shocking, and for being inextricably bound up with crime. But even still, some lines still manage to offend more than others. We count down the top 8 most controversial rap lyrics of all time.

canadians-south-park

1. “Tire marks, tire marks, finish line with the fire marks/When the relay starts I’m a runaway slave…master” – Iggy Azalea, D.R.U.G.S

If there’s an institution in the universe that white people generally take great pains to distance themselves from; it’s slavery. By the same token, there’s an unwritten rule of Public Relations that you should never invite your audience to draw comparisons between yourself and slave owners. This probably goes double if your whole career is dogged by accusations of cultural appropriation. So when Iggy Azalea referred to herself as the “runaway slave master,” Mayor Rob Ford’s spin team shook their heads with pity.

But this was a freestyle rap yeah? A gifted freestyle rapper can’t control the Pentecostal words that come out of their mouth. At it’s worst it’s just a very twisted Freudian slip. Wrong. The song samples a Kendrick Lamar B-Side, Looking for Detox in which K-Dot raps “tire marks, tire marks, finish line with the fire marks, when the relay starts I’m a runaway slave.” In a touching piece of “homage” Azalea samples the song and re-uses the same opening line from Kendrick. Except she alters it very, very slightly by changing it to “SLAVE-MASTER.” So what Iggy has done here is stolen the work of a black man, put a tasty racist twist on it, and then presented it as her own. It’s like a racist aptronym. The dictionary definition of “cultural appropriation” should just be the YouTube URL to this song.

Azalea manages to make a song titled D.R.U.G.S controversial for a slavery reference.

2. “If you don’t judge my gold chains/I’ll forget the iron chains” – LL Cool J, Accidental Racist

Where to begin with this sonic abortion? In an extremely misguided attempt to repair race relations, Nashville singer Brad Paisley seeks forgiveness for his “accidental racism” – a sentiment shared by my grandfather. Paisley is acutely aware of how offensive his Confederate flag t-shirt might appear. But he doesn’t wear it to honour the Confederate legacy of driving a nation into Civil War to preserve the right to hold black people in bondage. No. He wears it because he’s a Lynyrd Skynyrd fan. A band that very occasionally uses the Confederate colours and motifs in some of their artwork. Fair enough. And I suppose he wears that white hood with the two eyeholes cut out simply because he’s a man that appreciates privacy and the feeling of fine bed linen against his face. Paisley is sick of the bigotry. He’s wrongfully judged by his appearance, and not by his “progressive” sentiments that echo the absolute pointlessness of trying to make amends such as: “it ain’t like you and me can re-write history, our generation didn’t start this nation” and “it ain’t like I can walk a mile in someone else’s skin.”

Sadly, whilst Brad Paisley is the real villain here he’s not (yet) a rapper, and is outside of our crosshairs. In 11 bars of absolute dribble, LL Cool J manages to make The Klumps look like Dr. Cornel West. LL laments the bigotry black people have to suffer: “just because my pants are sagging doesn’t mean I’m up to no good.” But yet he who is without sin cast the first stone, because LL isn’t innocent either – “so when I see that white cowboy hat, I’m thinking it’s not good.” However, he reaches a compromise, and he won’t judge Brad for his symbol of a separatist nation that would rather be literally dead than without slaves, if Brad doesn’t “judge my do rag.” Fair.

It’s done even less to repair race relations than this famous interracial duet in which a black man was also a puppet.

3. “‘Bout to put rims on my skateboard wheels/ Beat the pussy up like Emmett Till” – Lil Wayne, Karate Chop (Remix)

Good taste is maybe not something you’d expect from a man with diamonds permanently affixed to his teeth and the ‘ESPN’ logo tattooed to his arm – but Lil Wayne’s line in the ‘Karate Chop’ remix still managed to be fish-market odious. In this poetic gem Wayne Carter graciously lets the degradation of women take a backseat to the brutal murder of a civil rights icon, and still manages to throw in a mention of his skateboard as well for good measure.

Emmett Till was of course the teenage boy who was murdered in Mississippi after allegedly flirting with a white woman, and who helped galvanize the Civil Rights Movement. The Till family sent Weezy a letter showing their disgust for his lyrics “Not only are you destroying the preservation and legacy of Emmett Till’s memory and name, but the impact of his murder in black history.” They also took umbrage with Wayne’s insensitive zeal with the female sex organ “… along with degradation of women,”

Of course the reason why Wayne’s lyric is so offensive is because if it weren’t for the death of Emmett Till, Weezy would have probably been unable to purchase his 16-year-old daughter Reginae a Ferrari. Oh, and he said “beat up the pussy”!??

Reginae's actual Ferrari.

Reginae’s actual Ferrari.

4. “Fuckk the F.B.I. and fuck all the Army troops/Fighting for what, bitch? Be your own man” – Soulja Boy, Let’s Be Real

Soulja Boy is the artist who perpetually pushes boundaries, causes us to question what we often take for granted, asks the tough questions and is prepared to tackle the controversial issues of the day did Crank Dat.

Soulja Boy is not known for his politics, and as such people were decidedly pissed when a guy with controlling interest in the Bathing Ape Company thought he would throw in his two cents on the Iraq War.

And if you’re part of the select group of impressionable US servicemen who find themselves regularly swayed by the content of rap lyrics, chances are you’re still not going to be convinced by a guy who’s actual Wikipedia page describes his music as “vacuous and insipid.”

5.“I really think the war on terror is a bunch of bullshit/Just a poor excuse for you to use up all your bullets/How much money does it take to really make a full clip?/9/11, building 7, did they really pull it?” – Lupe Fiasco, Words I Never Said

If you want a surefire way to look like a dumbass, publicly declare your support for a conspiracy theory.

Words I Never Said was Lupe’s middle finger to Atlantic Records, which touched on controversial political topics like September 11, government fiscal policy and the occupation of Gaza. It was considered so ‘edgy’ and ‘subversive’ that it was adopted as a pseudo-theme song by hacker group Anonymous.

For a singer to simply name-check the issues on pages 1-5 of today’s newspaper doesn’t make you Bob Dylan. This is more We Didn’t Start The Fire than Imagine. It’s got a lot of this about it –

https://youtu.be/TLEK0UZH4cs

Lupe has long walked a tight rope between genius and idiot. And this one firmly falls in the latter category. “Obama didn’t say shit” says Lupe “that’s why I ain’t vote for him, next one either.” Encouraging voter apathy amongst black populations isn’t generally regarded as a social good….

6. “Little gay-looking boy / So gay I can barely say it with a straight face-looking boy / You witnessing massacre like you watching a church gathering taking place-looking boy”– Eminem, Rap God

Eminem made a name for himself with shocking homophobic lyrics, but managed to throw off the suggestion that these were genuinely held sentiments when he performed with Elton John at the 2001 Grammys. Further, Eminem has always maintained that he has never used the word “faggot” to refer to a person’s sexuality, but was rather a word used in the Detroit rap-battle scene to mean a “punk or a bitch or an asshole.” That may be so. But this line on Rap God delivered at age 40 is fairly unequivocal. The Gay vs. Straight thing sort of makes that fairly clear. C’mon man.

7. “I swear that bitch Rita Ora got a big mouth/ Next time I see her might curse the bitch out/ Kicked the bitch out once cause she bitched out/ Spit my kids out, jizzed up all in her mouth and made the bitch bounce.” – A$AP Rocky, Better Things

Oh man. Did he really just say “spit my kids out”? What’s more insulting is Rocky’s painful backtracking in interviews, in which he sort of half-qualifies his comments, and then ends up saying something even worse. “She got me into a lot of trouble but I just want to clarify, this isn’t me saying ‘don’t go listen to Rita Ora‘ or that she’s a terrible person… I didn’t say the pussy was whack,” he said. Yeah guys, it’s not as if he said “the pussy was whack”, which is obviously the absolutely worst thing he could have said, and which would have entitled Rita to be offended.

At one point he tries to pass off the lyric as the dying wish of mentor A$AP Yams, saying, “that was one of the joints that I feel like a I recorded before Yams passed that I knew he really loved.” I’m sure wherever Yams is now, he’s touched that he’s been remembered through a moving anecdote of one person’s inability to ingest A$AP Rocky’s genetic material. “To Rita Ora and her fans – keep going, you’re still beautiful baby girl, just next time keep your mouth shut and I’ll do the same.” Yuck. Of course Rocky has taken the high road here, where Rita Ora had no discretion. Rocky is a man of intense privacy, not one to put his relationships in the public sphere.

8. “Put Molly all in her champagne she aint’ even know it/ I took her home and I enjoyed that she ain’t even know it” – Rick Ross, U.O.E.N.2O

For those who don’t know, Rick Ross was an actual former state prison guard, before becoming a rapper and taking the name of an actual living drug king pin. It’s the kind of 180 that would make Tony Hawk blush. Given that Rozay ranks just behind the Talented Mr. Ripley for people who have built success on a foundation of pure lies, you sort of have to take everything he says with a pinch of his finest fictional blow. He’s not exactly credible; if you ain’t even know it. So when Ross said on that same song, “I’m bout to get you fucked niggas whacked,” there weren’t riots in the street. Because it was yet another example of the kind of fake boasting that even Brian Williams would think pathetic.

But the date-rape line was more offensive than copping an up close glimpse of Ross’s inked-up man-mammary – because, like, what if he’s not joking? Obviously there’s a fine line between humour, braggadocio and real life. So the general rule of thumb is that if you want to keep your Rebook deals, and keep peoples food from retching up their oesophagus, axe the date-rape lines – this could have been very easily achieved given that absolutely nothing in Ross’s verse rhymed, meaning it could have literally been replaced with ANYTHING. Abysmal.