The track surfaced online after Rozay’s newest album was released internationally. You can hear it below.
After a 30-second intro from Chris Rock, Rick Ross starts going in on Baby.
“I used to see you niggas on my TV screen/And wonder what was life like, was it all a dream?/And then I met you on them Live Nation dates/Came to the realization that your watch was fake,” the irrepressibly theatrical MMG boss spits over a key-driven instrumental that manages to sound both sentimental and ominous at the same time. It utilizes the same sample used for Jay Z and Beanie Sigel’s “Where Have You Been.”
The instrumental is an appropriate one, considering Rozay sounds genuinely disappointed with the observations he’s apparently made about the Cash Money co-founder. A bit later in the song, he bashes Birdman for apparently not going to see B.G. when he was locked up. He also goes to bat for Lil Wayne, who’s been engaged in a huge legal battle with Birdman over the past two years.
Calling Stunna by name, Ross mentions that he’s still got love for the co-owner of Cash Money, but that doesn’t stop him from condemning the music mogul for allegedly underpaying everyone on Cash Money.
“You would give us self-esteem and motivate our drive/But was in our pocket by the time we count to five/I pray you find the kindness in your heart for Wayne/His entire life he gave you what that was the game/I watched that whole debacle so I’m part to blame/Last request: can all producers please get paid,” Ross raps toward the very end of the song.
Ross also mentions DJ Khaled, Mannie Fresh and Scott Storch as people Baby did wrong before ending the song with, “Last request, can all producers please get paid?
The opening scene of Get Out is a familiar horror-movie image—a stranger walking an unfamiliar street, in the dead of night, nervously looking over their shoulder at every rustle of sound. The setting is the suburbs, a frequent favorite of the slasher genre, only the victim is not a scantily clad teen girl, but an African American man, uneasily navigating what seems like hostile territory. A car pulls up alongside him, blasting the dirge-like old-fashioned ditty “Run Rabbit Run.” “Not today,” he mutters, turning around and walking in the opposite direction. But of course, his fate is already sealed.
Get Out was written and directed by Jordan Peele, one half of the legendary sketch-comedy duo behind Key & Peele. That show had a remarkable grasp on the visual hallmarks of the film genres it often mimicked, and its humor often lay in the preciseness of its parody. But Get Out is no mere pastiche. It’s an atmospheric, restrained, extremely effective work of horror with a clear point of view, a darkly hilarious movie that never trips over itself in search of a cheap laugh or scare. What might sound like a one-joke premise turns into something richly textured; what might seem like an easy metaphor is, in fact, anything but.
Like so many horror films, Get Out is exploring the creepy menace of the suburbs. Usually, similar slasher movies exist to puncture the false veneer of safety that comes with a white picket fence, but in Get Out, the threatening vibe is present from minute one. Chris (Daniel Kaluuya) is about to meet the parents of his girlfriend Rose (Allison Williams) for the first time and is nervous when he realizes she hasn’t told them that he’s black. After a long drive, their manse turns out to be exactly what you might imagine—giant, secluded, pristine, and filled with trinkets from trips around the world.
Rose’s father Dean (Bradley Whitford) is a little too eager to call Chris “my man,” her mother Missy (Catherine Keener) is icy and standoffish, and her brother Jeremy (Caleb Landry Jones) is weirdly aggressive, but there’s nothing that unusual going on at first. Peele layers in a familiar awkwardness before slowly introducing elements of dread. The house’s maid Georgina (Betty Gabriel) and the groundskeeper Walter (Marcus Henderson), both black, have strangely placid demeanors; Missy is a psychiatrist who keeps offering to hypnotize Chris (just to help him stop smoking, you understand); and, naturally, there’s a locked basement no one’s allowed to go into (just a nasty case of mold, of course).
t’s best to know as little as possible about Get Out’s second and third acts. Peele’s plotting is as crisp as his knack for visual storytelling, and he doles out tidbits of information with glee, letting the audience slowly figure out the particulars of Rose’s family while they guess at just how deep the malevolence goes. Chris is on edge from minute one, understandably; behind the family’s friendly surface is the kind of passive prejudice he obviously feared from the get-go. The delight comes in watching how Peele heightens that into real terror. Get Out is clearly playing on the discomfort a young African American man might have in visiting a largely white community—something rarely explored by the horror genre.
There are few more frightening monsters to conjure than racism, after all. It’s a topic the genre has brushed up against—with the black protagonist of Night of the Living Dead, a rare sight in 1968, or in Bernard Rose’s 1992 classic Candyman, in which the titular figure in part represented America’s history of slavery and repression. But racism is still a surprisingly uncommon subject matter, and Peele addresses a more insidious fear—of the fallacy of America being a post-racial society, and of the nightmares one can imagine under that benign surface.
Kaluuya, a British actor who was extraordinary in the Black Mirror episode “Fifteen Million Merits” and, more recently, played Emily Blunt’s stoic partner in Sicario, is terrific in the lead role. Williams excels as Rose, weaponizing the lack of self-awareness she deploys so well on HBO’s Girls. The entire cast is perfectly restrained, save for maybe Jones, who feels unhinged from the start, and the delightful Lil Rel Howery, who plays Chris’s friend Rod, a TSA agent with the kind of moxie and deductive powers one might not expect from an employee of that particular agency. He’s a vehicle for the film’s biggest laugh lines—but Get Out is funny throughout, wringing jokes from even the tensest moments.
Best of all, though, is that Get Out is truly frightening. Not because it’s loaded with jump scares (though it does have a couple of good ones), nor because it features excessively visceral violence. It’s so perfectly calibrated that every escalation feels organic: What begins as an awkward tale of meeting the parents becomes something much, much worse, but it’s all part of a fully realized whole. Get Out is an extremely confident debut feature for Peele, one steeped in the language of horror cinema rather than merely copying it. It’s also likely to be one of the wryest, funniest, most relevant films of the year.
Courtesy of Yahoo
HOUSTON (AP) -- The Houston Rockets weren't happy to have squandered an 18-point lead, leaving them tied with Oklahoma City with just seconds left on Thursday night.
But they were proud of the plays they made at the end of the game to hang on for the win.
James Harden scored 26 points and Nene hit two free throws with 0.7 seconds remaining to lift the Rockets to their sixth straight victory, 118-116 over the Thunder.
''There's going to be some close games in the postseason where we'll have to figure ways to close them out, and it isn't always going to be us making shots and it being perfect,'' Harden said. ''We're going to have to get stops sometimes.''
Houston overcame Russell Westbrook's 49 points, though the star guard struggled down the stretch.
Harden found Nene right under the basket and he was fouled by Jerami Grant as he attempted a shot, setting up the winning free throws. Nene had a season-high 18 points for his 12th double-digit game this season.
''I saw two defenders guarding me and I saw Nene wide open,'' Harden said. ''No matter if it's the fourth quarter with three seconds to go or the first quarter with 10 minutes to go, I'm going to make that pass. And my teammates know that and he was prepared and ready for it.''
A pair of foul shots by Harden tied it with just under two minutes remaining. The teams combined to miss seven shots after that, with Westbrook missing three in that span, before Nene's free throws..
Their music is both fun and fierce. It’s a tasteful mix of upbeat R&B/Pop tracks, smooth Top 40 ballads and moody, vulnerable songs that resonate with the heart of the listener. Eclectic, mesmerizing, and dynamic are the adjectives being used to describe the award winning trio. The crew won the award for Best R&B/Pop Group at the 2015 Underground Music Awards. The group is comprised of members Shea Butter, Paula Sheniece and TaGee Fontaine. The Seal Breakers have an international style. They describe their sound as “Hip-Pop-Soul.” Their unique crossover appeal ranks alongside contemporary stars like Rihanna, Chris Brown, Drake and Trey Songz. Equally important, The Seal Breakers have appeared on the immensely popular Lenny Green Show on WBLS 107.5FM and The ABC 7 news program Here and Now.
Moreover, the Seal Breakers have performed at a myriad of world famous venues around the country including BB Kings, SOB’s and were feaytured performers at the 2016 Circle Of Sisters Expo at the Jacob Javits Center N.Y.C. sponsored by WBLS & HOT 97. Armed with a pen, a microphone and an unshakable will to succeed, the group is making an impact on the independent music scene and beyond. The Seal Breakers demonstrate their unforgettable melodies and explosive vocals on their debut EP entitled “Life As We Know It,” which was released in December 2015. The project spawned the hits “Brooklyn,” “Is It Possible,” and “Everything.” The group is back with an incredible new hit song entitled “DWTD (Dancing With The Devil).” The single features the vocals of band member TaGee Fontaine. “DWTD” is rhythmic and alluring. The track has a cool Caribbean vibe. The lyrics are sensual and tantalizing. TaGee sings about a beautiful young lady who takes his breath away on the dance floor. The smooth, tropical jam is sure to appeal to fans of R&B/Pop music around the globe.
When these 2 collab, its always magic. The hilarious theme and visuals provided by Alpha Male Visuals will have you laughing at how these two comically gel together.
Shout out to our I45 neighbors. Make sure you TUNE IN and check out the single Moves to Make currently in rotation.