Shout out to Taj…
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Behind The Scenes Of Swizz Beatz & Musiq Soulchild’s Video “Anything” [Video]
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Tagged bennyhollywood, celeb news, Celebrity News, Coffee, context, Entertainment, Hollywood, invalid, swizz-beatz, taj stansberry, video
‘I think that if more of the industry did moves like this it would be a better place for everybody,’ producer tells MTV News. By Mawuse Ziegbe Swizz Beatz Photo: MTV News When Kanye West and Jay-Z dished out “H.A.M.”, the first official single from their forthcoming joint album Watch the Throne, it was a colossal hip-hop moment. Two of the rap’s reigning mic-rippers tag-teaming on a track heaping with bravado-laden lyricism over producer Lex Luger’s incessant, piercing drums is a major way to star to start the hip-hop conversation in 2011. Swizz Beatz, who’s crafted multiple records with both MCs, told MTV News on Wednesday (January 12) that Yeezy and Hov’s collaborative effort could be taken as a blueprint for how to push the hip-hop game further. “I think that those being both of my friends, and knowing that people can team up on such a high caliber level — as musicians, as rappers, as friends, as peers — I think it’s super-positive, and I think that if more of the industry did moves like this it would be a better place for everybody,” Swizz said. The Monster Mondays songsmith has been in the lab with the hip-hop titans as they craft Throne, and added that the tracks that in the works definitely game-changing potential. “I’m involved a little bit on the album, and just hearing the different songs it’s like ‘Wow, they’re really taking it to another level.’ I’m happy to be a part of it, those are my brothers and [they’re] going to continue pushing the envelope,” he said. Swizz also insisted Jay and ‘Ye are “definitely coming with the monsters,” and that “H.A.M.” will be followed up by tracks that are “just gonna keep getting better.” However, the prolific producer mused that the two MCs don’t have an specific agenda for Throne’s chart performance — since they’ve both got boatloads of accolades, fame and radio hits to their names — but are rather hitting the studio to create the tracks they feel like making. “I think they’re just doing them. I don’t think artists nowadays are paying attention to any like, particular formats. Because the industry is not what it used to be — you can’t predict a Top 40 record or a #1 Urban record. You just gotta just do what you feel is hot. It’s just like you feel like you don’t want to rap no more [or] you wanna keep going past the hook, just keep going past the hook. That makes it real hip-hop.” he said. “People don’t understand that hip-hop got started from being rebellious to any rules. Hip-hop has no rules, and the only reason hip-hop started getting rules [was] because of radio airplay, sales, different spins and trying to reach out to another audience. But Jay and Kanye got the audience already so they can do what they want to do, and I think that’s what they doing, which is a great move.” Like his homies, Swizz is also making some high-profile joint moves, collaborating with Reebok and luxury car maker Aston Martin. The producer/rapper has also been tinkering on his next solo effort, titled Haute Living, which he said will be a creative departure from his previous work. “I think people are not gonna expect what they’re gonna hear on my album. I’m very hard on myself with the album because it’s like putting on another hat and it’s opening up the door for a lot of criticism,” he said of heading back to the mic for the follow-up to 2007’s One Man Band Man. Ultimately, he shrugged off any possible Haute hate, and maintained that, like Jay and Kanye, he’s in it to make music and have a good time. “Doing this album I said, ‘Look, I’m not trying to be the best rapper in the world, I’m not trying to do none of that. I’m just trying to have fun and treat it as [an] art project where I’m expressing myself.’ ” While he may be prioritizing creativity over commercial viability, Swizz hasn’t been slacking on securing a diverse lineup of A-list features that includes a rock star, a Rebirth rapper and R&B royalty. “I have amazing collaborations on the album from Lenny Kravitz, Wayne, my sister Mary [J. Blige], Maxwell is on the album,” he said. “I don’t want to give it all away but I’m trying to come with something … that’s just gonna like blow people’s minds away. They gonna be like, ‘Wow.’ ” Do you agree with Swizz’ thoughts about Jay and Kanye’s “H.A.M.” record? Let us know in the comments! Related Photos Kanye West And Jay-Z: History In The Making Jay-Z And Kanye West Take Cues From Past Supergroups Related Artists Swizz Beatz Jay-Z Kanye West
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Swizz Beatz Says Jay-Z And Kanye West’s ‘H.A.M.’ Is ‘Super Positive’
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Tagged Album, audience, celeb news, friends, Hollywood, live, sister, stars, swizz, swizz-beatz, tracks
Well look who remembered he had a little girl! Swizzy tweeted this picture of him and his daughter Nicole today with the caption: “Me and my girlfriend #happydad” Maybe Alicia really does bring out the best in him…
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Some Afternoon Preciousness: Swizzy Shows Off His Other Girl
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Tagged bennyhollywood, black celebrity gossip, daughter, Girlfriend, News, nicole dean, really-does, stars, swizz-beatz, twitter files
Bink! and Clark Kent also hold it down by finding key samples, in Mixtape Daily. By Jayson Rodriguez, with additional reporting by Hillary Crosley, Rahman Dukes, Steven Roberts and Richard Sancho Swizz Beatz, Kanye West and Clark Kent Photo: Getty Images/ MTV News This is Mixtape Daily, so you know the deal: We spotlight the essence of street culture. And when it comes to those behind the boards, it gets no truer than producers who know how to dig in the crates and find a dusty sample that will inject life into a new composition. These four guys reached deep down, far and wide, to the nether regions of their musical minds to create bangers that became the soundtrack of the past 12 months. Without further ado, we close out our year-end awards by saluting the Top Producers of 2010: Bink! Wax Lift : Smokey Robinson’s “Will You Still Love Me Tomorrow?” Street Symphony : Kanye West’s “Devil in a New Dress” Originally, this one (co-produced by Mike Dean) dropped as part of ‘Ye’s G.O.O.D. Friday series, and West picked apart Bink!’s loop of the Motown star’s stirring vocals to add his own twist. “Hood phenomenon, the LeBron of rhyme,” he spit. “Hard to be humble when you stunning on a JumboTron/ I’m looking at her like, ‘This what you really wanted, huh?/ Why we arguing anyway? Oh, I forgot, it’s summertime.’ ” Clark Kent Wax Lift : Enchantment’s “Silly Love Long” Street Symphony : Rick Ross’ “Super High” Praises to Barry White and his “I’m Gonna Love You Just a Little Bit More, Baby,” but it’s not that sample that raised this stirring Rick Ross track to sublime heights. Rather, it’s the way Kent (and co-producers the Remedy) flip Enchantment’s “Silly Love Long” that takes this one up a notch. “We shining when it’s pitch dark, yeah this bitch a movie, but this time I play a big part,” Ross muscles through the beat with his flow. “F— marketing, look at what I’m accomplishing/ I’m beating n—as by margins bigger than Fran Tarkenton.” Swizz Beatz Wax Lift : Justice’s “D.A.N.C.E.” remix Street Symphony : Jay-Z’s “On to the Next One” While most producers speed up samples, Swizz took the road less traveled and slowed down this driving dance tune into a military-march tempo. The result was Hov’s mantra for his next decade of dominance and MTV News’ #8 Song of 2010 . “Baby, I’m a boss, I don’t know what they do,” Jay spit. “I don’t get dropped, I drop the label.” Kanye West Wax Lift : Backyard Heavies’ “Expo 83” Street Symphony : “Runaway” Rick James might be the signature sample on this one, but it’s the drum loop from the Backyard Heavies where ‘Ye (and co-producers Emile, Mike Dean and Jeff Bhaskar) set their sail for this number to rise to one of the year’s best tracks. “See, I could have me a good girl and still be addicted to them hood rats,” Yeezy rhymes. “And I just blame everything on you/ At least you know that’s what I’m good at.” For other artists featured in Mixtape Daily, check out Mixtape Daily Headlines . Related Videos 2010 Mixtape Daily Year End Awards
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Kanye West, Swizz Beatz And More Top Producers Of 2010
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Tagged artists, Hollywood, joseph-kosinski, mixtape-daily, news article, silly-love, Sports, steven-roberts, swizz-beatz, Videos
The ode to getting ready for a night out, featuring Swizz Beatz and T.I., is on our Top 25 of the year. By Kyle Anderson Drake Photo: David Becker/WireImage All it takes to break into the hip-hop game is one hot guest appearance or a buzzworthy mixtape track. The difficult thing, however, is maintaining that sort of energy and interest. Drake proved that he was up to that task in 2010, and the fact that “Fancy” — which comes in at #7 on MTV News’ Top 25 Songs of the year — was not even a single and still managed to have the impact that it did is a testament to the 24-year-old Canadian’s skill and prowess. When he first became the man of the moment in hip-hop, it was uncertain whether or not Drake would manage to keep up the buzz after the surprise success of “Best I Ever Had.” But Thank Me Later turned out to be one of those rare hip-hop albums that appealed to just about everybody. If you like sharp lyricism, you like Drake. If you like smooth R&B sounds, you like Drake. If you like gritty production, you like Drake. If you like dancing in a club, you like Drake. He’s everything to everyone, and yet somehow still a unique talent as comfortable with crooning as he is with freestyling. Produced by Swizz Beatz and featuring guest vocals by Beatz and T.I., “Fancy” may just be the definitive Drake track. It takes a hypnotic, radio-friendly beat and crams in some killer couplets (“I’ve always liked my women book and street smart/ As long as they got a little class like half days,” and “Time heals all but heels hurt to walk in/ But they go with the clutch that you carry your lip gloss in,” for example), a catchy chorus (the line “Oh, you fancy, huh?” has become a catchphrase) and a little something for the ladies. “It’s like preparation rap,” explained MTV News hip-hop writer Jayson Rodriguez. “It’s like when the girls are in the mirror and getting ready, and this is the soundtrack to that moment.” The song is especially unique because it becomes almost a completely different song just before the three-minute mark. The beat slows down to a hazy crawl and Drake shifts into his disarmingly sweet baritone for some seductive crooning. By the end, all that’s left is the hum of the keyboards and Drake’s heartbreak. What begins as a triumphant club jam becomes something of a mournful dirge, and Drake manages to pull off both at the same time. “Fancy” had its big moment at the 2010 MTV Video Music Awards, where Drake channeled the Rat Pack and turned the stage at the Nokia Theatre in Los Angeles into the Copa Cabana for a few minutes. It zeroed in on Drake’s main export: Sharp, undeniable cool. “Fancy” happens to be the clearest expression of everything great about Drake. “[‘Fancy’] encapsulates the Drake swagger that girls love so much,” points out MTV News pop writer Jocelyn Vena. Swagger is something that a lot of rappers talk about, but few walk the walk as well as Drake. For a song called “Fancy,” the message is pretty simple: Drake is unblinkingly cool. Where would you place Drake’s “Fancy” among the top songs of 2010? Let us know in the comments! MTV News’ Top 25 Songs of 2010 countdown continues. Make sure to keep checking back to see what song we’ve named #1, and don’t forget to share your picks with us in the comments below! Related Videos MTV News’ Top Songs Of 2010 Related Photos MTV News’ Top 25 Songs Of 2010 Related Artists Drake
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Drake’s ‘Fancy’ Is MTV News’ #7 Song Of 2010
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Tagged celeb news, Girls, Hollywood, Mtv, News, nokia, songs, swizz-beatz, TMZ
Hov’s diabolical Swizz Beatz record (and its snarling video) blaze onto our Top 25 songs of the year. By James Montgomery Jay-Z Photo: Mark Metcalf/ Getty Images Last week, MTV News kicked off our countdown of the Top 25 Songs of 2010 , a list that’s already featured the likes of Rick Ross and Robyn, Lady Gaga and Kanye West , to name just a few. On Monday, we began rolling out our Top 10 — starting with Gaga’s “Telephone” and rolling on to Eminem and Rihanna’s “Love the Way You Lie.” Now, we’re set to unveil our pick for #8 … Jay-Z’s “On to the Next One,” a diabolical track that floored pretty much everybody, thanks in no small part to its snarl, its swagger and, yes, its sorta-Satanic video too. First things first: Yes, this song is from an album that came out in 2009. And, yes, it was technically released to radio in December of that same year. No, it didn’t match the chart-topping success of its predecessor, the world-uniting “Empire State of Mind.” In fact, it didn’t even come close. And, frankly, with its leering, inky backbeat and macabre music video, it confounded many of Jay-Z’s most ardent supporters. So why are we still talking about it at the end of 2010? Well, why not ? Because despite everything we just mentioned, and no matter what the detractors had to say, no one can deny the fact that “On to the Next One” is a jaw-dropping piece of work. From Swizz Beatz’s serpentine track — all fits and starts, rewinds and fast forwards (and Justice samples) — to Jay’s deft, defiant wordplay (“N—as want my old sh–/ Buy my old album”) to Sam Brown’s video, which had the world convinced that Jigga was either A) a Satanist, B) a member of the Illuminati, or C) both, there wasn’t a more purposefully diabolical song released by a major-label artist this year. Not even Kanye could match its power, no matter how many King Crimson samples he threw into the mix. Because, like the title implies, “On to the Next One” is Jay-Z distancing himself from the pack, kissing the past (and his critics) goodbye and moving boldly — probably blindly — into the future. He’s over throwbacks and Auto-Tune and Cristal, and you should be, too, mostly because hip-hop needs you to be. He’s not just a rapper, he’s a cultural ambassador … and this song is proof. There’s nothing about it that’s easy to digest, but more often than not, the important songs — the necessary ones — aren’t meant to be swallowed in one sitting. They’re designed to be gnawed on, to agitate and anger and, ultimately, inspire. This is how revolutions begin and pearls are made, after all. Of course, leading a movement can be a messy affair, and Jay caught it from all sides thanks to the video for “On to the Next One,” an arty, black-and-white thing that combined cocksure swagger with images of crucifixes and bullets, Damien Hirst homages and even, perhaps, a baphomet or two. It is not, shall we say, your traditional hip-hop clip, and because of that (months after its release), Jigga was branded all sorts of nasty things, to the point that he felt compelled to address his supposed secret-society leanings on “Free Mason,” a devilish track he cut with Rick Ross . But even then, as he was (in theory) acknowledging the naysayers, he was telling them to f— off too. Take note: He said he was amazing, not a Mason. So hate if you want to. Whisper as loud as you’d like. Jay doesn’t care. With “On to the Next One,” he’s moved beyond your earthly concerns. You can drag your feet if you’d like, but eventually, you’ll be where he’s at. Only, by that time, he’ll be somewhere else entirely. That’s what the greats do, after all: They destroy, they rebuild and then they move on to something completely new. So, in a way, it makes sense that it took nearly a year for everyone to catch on to a song like this. In fact, we’re willing to bet that’s exactly how Jay-Z planned it. Kind of makes you want to invest in some white Louis boat shoes, doesn’t it? Where would you place Jay’s “On to the Next One” among the top songs of 2010? Let us know in the comments! MTV News’ Top 25 Songs of 2010 countdown continues. Make sure to keep checking back to see what song we’ve named #1, and don’t forget to share your picks with us in the comments below! Related Photos MTV News’ Top 25 Songs Of 2010
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Jay-Z’s ‘On To The Next One’ Is MTV News’ #8 Song Of 2010
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Tagged baphomet-or-two, Eminem, Hollywood, illuminati, Music, music-news, News, news article, songs, swizz-beatz, traditional, world, Year
Bad Boy mogul hits on the screen legend dressed in drag for a skit, and takes over stage with Swizz Beatz and Diddy-Dirty Money. By Mawuse Ziegbe Robert De Niro and Sean “Diddy” Combs perform on “SNL” Dec. 4 Photo: NBC Hip-hop and Hollywood went head-to-head on this week’s episode of “Saturday Night Live.” Screen great Robert DeNiro served as host and Diddy-Dirty Money supplied the musical entertainment, but one of the highlights of the episode went down the music mogul and movie legend teamed up for some laughs. The two appeared together in a skit in where Diddy — playing an over-amped music executive – touts the talents of the “Hottest Hook Guy” in the business: Blizzard Man. Andy Samberg enters a recording studio in full early ’90s regalia – colored shades, silky shirt, sprayed-stiff hair – and drops a few wiggity wack rhymes to the horror of the other producers. Then Blizzard’s mom, played by DeNiro, sashays in, suited up in a gaudy sweater and leggings outfit that catches the eye of a (presumably) delusional Diddy. “You know a bitch gotta stay dipped,” the Hollywood great says. After sizing her up later on, the Last Train to Paris rapper tells DeNiro’s alter ego that, “If you wasn’t my man’s mom, I’d tear that ass up.” For the most part, DeNiro side-stepped the loopy costumes, and played himself when stopped by fictional BET talk show “What’s Up with That?” alongside Robin Williams and Kenan Thompson as Deandre Cole for a special Hollywood-themed episode. But the screen legend messes with Cole’s habit of interrupting guests and simply stops speaking. DeNiro stares grumpily at Cole until the groove kicks in, the host bops his head and he croons “uncomfortable silence.” DeNiro also turns up as a grizzled barfly who Samberg and Jason Sudeikis have to bed in a nearby closet in order to get a drink. All three complain that the experience is horrible because they each find each other butt-ugly. It’s later revealed that real mood-killer is the presence of DeNiro’s pal, another white-haired old timer in a bathrobe played by Ben Stiller. The show inserts a hefty amount of promotion for DeNiro’s new flick “Little Fockers,” including staging a set visit from a super-excited kid who freaks out about everything — from checking out a schedule to meeting the craft-services guy — except DeNiro. When Stiller arrives, the kid praises him for his turn in “Permanent Midnight,” and glares at DeNiro, “That’s how you do drama.” The Italian-American icon also hits up an Italian talk show that pushes him to skip down memory lane. The show trots out the deer from the 1978 flick “Deerhunter” and even forces him to do an unenthused DeNiro impression. The host also gets DeNiro to unwittingly utter his singular “Taxi Driver” line, “Are you talking to me?” by speaking in the opposite direction. For most of the show, Diddy stuck to what he’s known for, performing twice with the Dirty Money ladies, Dawn Richard and Kalenna. The trio hits the stage first with “Coming Home” shrouded in dark shadows that reflect the song’s plaintive vibe. While both ladies rock stylized pompadours and chunky statement jewelry, Richard shows off her abs in a slick bra-top and Kalenna wears a snug jumpsuit. Backed by a full band and a string section, Diddy helmed the performance, spitting the lyrics in a dark jacket and declaring passionately “It feels so good” to be coming home. The crew switched up the vibe from soulful to sexy for the second performance. Swizz Beatz kicked off the trio’s rendition of “Ass on the Floor,” imploring to the audience to “Get your hands in the air!” Richard and Kalenna took center stage and vamped it up under bright red lights, working feathered capes which Dawn affixed to her bustier and Kalenna to the small of her waist. Diddy hung back stealthily by the side of the stage surrounded by a few dancers in blonde bobs and slinky outfits. The mogul later hops up to lend a hand with hypeman duties, and the bobbed women join him as unleashes his verse, posing aggressively as he spit. What did you think of this week’s episode of “Saturday Night Live”? Let us know in the comments! Related Artists Diddy-Dirty Money
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Diddy And Robert DeNiro Flirt On ‘Saturday Night Live’
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Tagged artists, hip-hop, Hollywood, Money, Music, music-news, News, paris, swizz-beatz, TMZ, train
Swizzy drops Monster Monday track days after previewing new Haute Living cuts on Ustream. By Mawuse Ziegbe Swizz Beatz Photo: Johnny Nunez/ WireImage Following in the tradition of fellow production star Kanye West, Swizz Beatz has conjured up Monster Mondays to dole out free joints on the Web featuring some of his celebrity pals. His latest offering, “Ass on the Floor,” corrals Diddy-Dirty Money into the mix for a slickly atmospheric dance-floor-filler. Reinvigorating the rapid-fire drums made famous by Major Lazer’s 2009 party must-have “Pon De Floor,” Swizzy adds the spacey sheen of synth chords as the Dirty Money ladies croon about drowning their sorrows over a frustratingly volatile relationship. “You’re the love of my life/ But you hurt my heart twice/ Now I’m drunker than a motherf—– / Trying to find my way back to your heart you motherf—–,” Kalenna sings. Production duties aside, Swizzy plays hypeman, commanding the lovelorn souls to forget the drama and “get ya ass on the floor/ Them haters can’t tell you nothing!” The track’s amped-up rhythm is somewhat at odds with the melancholy lyrics, as Diddy also laments potent heartbreak in his verse. “That love’s gon’ get ya, motherf—– / Smoke weed, listening to Sade/ I left my pain in Paris/ Why can’t you see sh– my way?” Diddy spits. The vibe of the song definitely stays on track with the naked emotion the Bad Boy mogul promised on the trio’s long-delayed effort, Last Train to Paris. “One of the things we’re trying to represent is emotion,” Diddy told MTV News last year. “Not being afraid to show emotion on record. A lot of records out right now — no disrespect to them, but they’re all surface. It’s about what people have or a dance. All our records are gonna be about love, feelings and emotion. Last Train to Paris is a love story and the most vulnerable album I’ve ever been involved in. It’s raw emotion — you get a feeling, a vibe.” In addition to his Monster Mondays series, Swizzy has been staying busy in the studio and recently previewed some joints from his upcoming Haute Living album on Ustream. Tracks included a thumping midtempo banger featuring Chris Brown, and another song boasting the breathy vocals of his new wife Alicia Keys . What do you think of Swizz Beatz and Dirty Money’s “Ass on the Floor”? Let us know in the comments! Related Artists Swizz Beatz Diddy-Dirty Money
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Swizz Beatz, Diddy-Dirty Money Get Their ‘Ass On The Floor’
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Tagged alicia-keys, artists, bennyhollywood, Hollywood, life, mma, Money, news article, show, song, swizz-beatz, TMZ, ustream-tracks
Producer tells Mixtape Daily about his work with Snoop Dogg, Mary J. Blige and Beyonc
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Tagged Album, bennyhollywood, daily, Eminem, haute-living, Hollywood, Music, news article, snoop-dogg, sound, swizz-beatz, Videos, wayne
Mos Def and Charlie Wilson also guest on ‘Ye’s latest G.O.O.D. Friday joint. By Mawuse Ziegbe Kanye West Photo: Dominique Charriau/WireImage The G.O.O.D. Fridays keep rolling on. Kanye West dropped his weekly gratis track early Saturday (September 18), and this week’s offering, “Lord, Lord, Lord,” is heavy on silky soul and laid-back flows. Boasting verses from lyrical luminaries Mos Def and Raekwon and fellow producer/MC Swizz Beatz, as well as hearty riffs from R&B heavyweight and favored West vocalist of late Charlie Wilson, “Lord” features more of the smoky throwback feel the MC has dished out on tracks like “Devil In a New Dress” and “See Me Now.” West apparently tinkered with the song until, literally, the midnight hour, tweeting late Friday, “Swizz laying his verse … it’s almost midnight #GOODFRIDAYS.” Swizzy quipped that he and the Chicago MC had to fudge the Friday deadline for East Coast fans. “GOOD FRIDAY IS ON LA TiME TONIGHT LMAO!” he tweeted . However, the resulting track has none of the rushed energy you might expect from a five-artist collabo completed just hours before hitting the Web. It is instead a graceful seven-minute-long opus highlighting each contributor’s distinct swagger. Mos opens the track, gliding through cerebral rhymes like, “Cool ruler standing still, sweatin’ through the shade/He knew those lights only grew bright to fade/Dead-wrong pageantry, lottery and games/Sleight of hand provided by extravagant and fake.” West follows with a punchier delivery, rattling off lyrics such as, “I got lines that’s better than n—-s albums, plural/king of the urban, make ya sh– sound rural.” Then Swizz shows off the fruits of his late-night session, jumping in with “All-white Bentley, I call that ‘Mama’/my life crazy, like Obama’s.” Wu-Tang Clan elder statesman Raekwon rides out the track with lines like, “Open glass on my fingers/I sit back like I’m caged but still cakin,’ my n—-s is hatin.’ It’s like being in the livest Lambo in the hood, you a piece of steak/I’d rather be that then some bacon,” before recounting days living “amongst fiends, countin’ currency, hittin’ blunts.” What do you think of Kanye West’s new track “Lord, Lord, Lord”? Let us know in the comments below! Related Artists Kanye West Swizz Beatz Raekwon
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Kanye West Recruits Swizz Beatz, Raekwon For ‘Lord, Lord, Lord’
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Tagged celeb news, cerebral-rhymes, charlie-wilson, friday, gliding-through, heavy-on-silky, hitting-the-web, opens-the-track, swizz-beatz, urban
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