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Full Clip: DJ Jazzy Jeff (Pg. 2)

He's The DJ, I'm The Rapper (1988)—DJ Jazzy Jeff & The Fresh Prince

We never thought that He’s The DJ, I’m The Rapper was going to be a classic album that would sell millions.  We were signed to a small independent label in Philly that signed a deal through Jive Records. When we started the second album our deal with that independent label fell through and we got signed directly to Jive. So we were really excited because we were signed to a big label now. Then there was the idea of doing a double album. We recorded He’s The DJ in London. And it was funny because right before we left, I was in a car accident. I broke my leg, so I was in London for a month recording this record wearing a cast from my thigh to my ankle. We worked all night just to stay on the same time zone of the States. We would finish around 4 in the morning, come back to the hotel, fight to stay up to eat breakfast at around 6 a.m. and then go to sleep and go back to the studio at 8 pm.

You know what’s crazy to me? ‘Parents Just Don’t Understand’ was the exact same record as ‘Girls Ain’t Nothing But Trouble.’ It was a very slow paced beat with a detailed story. All we did was change the subject matter, so we knew it was going to work. But that was also one of my least favorite records on the album. Jive had a producer that they brought in to polish up our tracks. After we recorded ‘Parents’ he looked at us and said, ‘This is a smash record.’ And we looked at him like he was crazy [laughs]. It got to the point when Jive said they wanted to put ‘Parents’ out first, we fought them. We thought we had more songs with harder beats. We wanted to put ‘Brand New Funk’ out, first. But we really have to give Jive the credit for seeing something that we didn’t see.

While Will and I were on tour we couldn’t see how huge ‘Parents’ was blowing up on MTV and on the radio. We were in a different city every night, but what we saw was very strange. At that time, we were on Run-D.M.C.’s Run’s House tour. Run, and them were the headliners so they went on last. We went on third to last, but what started happening was when they would do the intro every night, the name Jazzy Jeff & The Fresh Prince would start getting louder and louder cheers. On one of the nights we did ‘Parents,’ Will came to me and said, ‘Yo, am I bugging or were they all rapping the song along with us?’ So the next night he did the first verse and he said to the crowd, ‘I’m going to let you guys say the second verse.’ So he’s like, ‘My mom took me school shopping’ and 25, 0000 people rapped the second line! We just looked at each other. The response from the crowds got bigger and bigger each night to the point where we went from being third to the last to going on right before Run-D.M.C.

We were selling so many records. We didn’t start to get all the talk of us being pop rappers until we got home. It was weird. We are getting played on every black radio station, but as soon as we started getting played on the white stations people started saying, ‘Ah, man, y’all ain’t hard. Ya’ll soft.’ And that kind of threw Will and I off. Nothing changed in our lifestyles in the way we grew up and came up from the last album to this album. But yet people were now saying that we grew up in the suburbs [laughs]. Back then you weren’t trying to have anyone question your manhood. We wanted to prove to people that we were not sell-outs. We were exposing so many people who had no idea what rap music was. You start realizing that you are a part of the reason why hip-hop was growing, but we still had to take our shots.

I think that’s why songs like ‘Brand New Funk’ were so important for us. That song personifies what Jazzy Jeff & The Fresh Prince are all about. It had a little bit of everything from Will being a great MC to me cutting crazy to a hard beat…it was one of those songs we loved to do live. We actually recorded the video live when we did it at New York’s Nassau Coliseum. That was the other end of the spectrum from ‘Parents Just Don’t Understand.’ The real Jazzy Jeff & The Fresh Prince fans knew ‘Brand New Funk.’ It became our outlet from the crossover records.

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DAWN Relishes In Self-love On New Song "Sauce"

DAWN is back with a sexy single off her forthcoming project, New Breed. "Sauce" is a sonic ode to pleasing all her hedonistic sexual desires after a long work week. Lyrically, the song is filled with suggestive lines and clever double-entendres that are far from coy when describing what she wants in the sack.

Just as much as “Sauce” is about sex, it’s also about basking in self-pleasure that comes after genuine self-love. In a statement published by Stereogum, the former Danity Kane member described the message behind the song:

“‘Sauce" is about women taking pride in their prowess, and about being raised to celebrate my skin,” DAWN said. “I lost focus of that when so many men degraded and disrespected my brown skin. ‘Sauce’ is about being bathed in your own beauty, being sexy for you. The new breed of women are unapologetic about sex and the way they choosing to express themselves.”

DAWN recently joined Aubrey O’Day and Shannon Bex of Danity Kane for the DK3 reunion tour across the U.S. In an interview with Billboard, the Louisiana native revealed she wants to give fans more of her authentic self on New Breed.

“This album is my relationship with New Orleans, me as a woman, and how being from New Orleans has created a person in me that acts and sees things a certain way. "'Jealousy'" is a prime example of that,” she said. “I just want to give you the girl from the 9th Ward that you guys only met once on [MTV's] Making The Band.”

Listen to "Sauce" below. New Breed drops on Jan, 25.

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LaVar Ball Is Requesting $3,500 From Anyone Planning On Recording Son During Tournament

As we know, LaVar Ball goes above and beyond in terms of making sure his sons become the superstar basketball players he wants them to be. His youngest son LaMelo is currently playing for SPIRE Institute in Ohio, and they have an upcoming tournament taking place in Kentucky. Mr. Ball is reportedly asking outlets to pay $3,500 at the door to videotape his son playing.

"All games are free to film except for the Spire Institute games,” an email reportedly sent by LaVar read. “To film either of the 2 Spire Institute games, you will have to present $3,500 at the gate, as per rules of the Big Baller Brand media credential… If you accept these conditions, you may present this email at the gate as proof of our approval where you will be given a media pass.”

While a few Internet folks are scoffing at the idea of having to pay that sort of money, others are pointing out the fanbase of LaMelo, stating that there are outlets who certainly would (and have) paid the fee for the chance to record LaMelo and SPIRE moments from the game. According to Forbes, this is one of many revenue streams for the Ball family.

"The Ball Sports Group in November entered into a partnership with FloSports Inc. to live stream five SPIRE games featuring LaMelo, beginning with one on Tuesday (Jan. 14) at Brush High School in Ohio," the site reports. "FloSports Inc. agreed to pay $5,000 per game, according to the contract which was signed by Foster."

Here's the email telling video outlets they must pay $3,500 to film LaMelo and @SpireBasketball this weekend in Kentucky. pic.twitter.com/XoiiorNxVr

— Adam Zagoria (@AdamZagoria) January 17, 2019

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Big Boi Purchases Studio Where OutKast First Began Their Career

Big Boi is going back to his roots with the recent purchase of the Atlanta recording studio — legendarily dubbed The Dungeon — where he and Andre 3000 recorded their classic albums at the beginning of their OutKast career, WSB-TV reports.

The veteran rapper, born Antwan Patton, announced the news via Instagram. The studio is located in the Lakewood Heights neighborhood. The studio once served as the hub for production crew Organized Noize, creating the beats for some of OutKast’s biggest hits.

 

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New day new Lot ... Just copped the Dungeon #WeDF #playingRealLifeMonopoly #RealEstate

A post shared by Big Boi (@bigboi) on Jan 16, 2019 at 10:54am PST

The Dungeon also served as a beacon of creativity for the group. In addition to OutKast recording their 1994 debut album Southernplayalisticadillacmuzik, they also recorded 1996’s ATLiens and 1998’s Aquemini at The Dungeon.

Deep in the Dungeon 👑 pic.twitter.com/IFLLONpSzp

— Big Boi (@BigBoi) January 16, 2019

In buying The Dungeon, Big Boi is securing an important piece of hip-hop history, especially considering how popular Atlanta has become in the entertainment industry. However, this wasn't always the case. In an interview with Rolling Stone, he admits that Atlanta wasn't always respected in creative circles like it is now.

“When we first started, it wasn’t cool to be from Atlanta,” he said. “Now Atlanta is the place to be with music, film, and television. To have people excited about the city and the culture and the lifestyle, I’m very proud of that. We’re the pioneers of it, and we’re still at the forefront of what’s happening. There’s plenty of people over the years, hundreds if not thousands like, ‘[1994 LP] Southernplayalistic … made me move to Atlanta.’ There’s no greater place in the world to be but A-Town.”

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