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Slept On HOV: Examining JAY Z's 'Kingdom Come' Album 10 Years Later

VIBE looks back at Jay's often overlooked album

Jay Z's The Black Album release was one of the greatest album roll-outs in Roc-A-Fella history. And being that Jay Z, the king of rap himself, was stepping down from his diamond encrusted throne, it was an once-in-a-lifetime event for the ages.

At the time, Hov promised fans that this was his last hurrah. After giving fans countless hit records, club bangers, street classics, and introspective glimpses inside the mind of a true street hustler, Jay Z threw the kitchen sink into the making of The Black Album, accounting for every detail and wrinkle with the abandon of a man whose clock was running out. From Madonna interpolations to collaborating with Rick Rubin, the album was indicative of a man with one life left to live as a creative -- a life that would expire upon its release.

The Black Album would be considered a worthy sendoff for a figure celebrated by many as the greatest rapper of all-time, but the aftermath, marked by his decision to sell his stake in Roc-A-Fella Records and part ways with business partners Damon Dash and Kareem "Biggs" Burke was the real signal of the end of Hov as we knew it. In a move that was as swift as it was surprising, in December of 2004, Jay was subsequently tapped by L.A. Reid to become the President of Def Jam Records -- the very record company he and his partners used to clash with during negotiations for Roc-A-Fella Records. Def Jam looked to Jay for his cache and expertise as a bankable artist to help steer the careers of up and coming talent, and to guide the ship that Simmons and Rubin built.

"After 10 years of successfully running Roc-a-Fella. Shawn has proven himself to be an astute businessman, in addition to the brilliant artistic talent that the world sees and hears," said Reid in a statement at the time. "I can think of no one more relevant and credible in the hip hop community to build upon Def Jam's fantastic legacy and move the company into its next groundbreaking era."

"I have inherited two of the most important brands in hip-hop, Def Jam and Roc-a-Fella," Jay-Z gushed. "I feel this is a giant step for me and the entire artistic community."

And a giant step it was, as Jay Z was now overseeing the careers of artists who were previously his peers, including tenured stars like LL Cool J, DMX, and Ghostface Killah. All three legends would voice their displeasure of being "under" a man they had once viewed as a peer. DMX claimed that the two former collaborators were both "too big" to work with each other -- while LL Cool J went as far as critiquing Jay's moves as president publicly. However, the Marcy Projects native's tenure at Def Jam was deemed as a relative success. He was credited for the discovery and signings of superstars like Ne-Yo, Rihanna, Young Jeezy, Rick Ross, and other megastars.

By mid 2005, Jay Z was entrenched in his role as head honcho, but despite the claim that he was over rap and content with his new life, Hov had already caught the music bug again. First making an appearance alongside Lenny Kravitz on the rocker's 2004 single "Storm," the following year would see him continuously hint at his subtle desire to step back in the booth with numerous features on records, including Memphis Bleek's "Dear Summer," Young Jeezy's "Go Crazy," Mariah Carey's "Shake It Off (Remix)," and Bounty Killer's "P.S.A. BK 2004." 2006 would see him continue to lend his voice to new music. Bun B's raucous posse cut "Get Throwed" featured Hov, and he had two high-profile appearances on wifey Beyonce's own 2006 release B'Day -- on the tracks "Upgrade U" and "Deja Vu," increasing speculation that the Brooklyn Don was secretly gearing up for a return to the music scene.

The speculation would be put to rest by September of 2016, when Jay Z announced plans to release his ninth studio-album Kingdom Come in November of that year. Admitting that "It was the worst retirement, maybe, in history" and that he had forced himself to follow through with his decision for two years, Hov's return may have been a foregone conclusion at that juncture, but was exciting news for rap fans who were clamoring for a new full-length dosage of Jay Z after going nearly three years without a fix. But at the same instance, that elation doubled as curiosity, with many wondering if the Def Jam presidency and his departure from the rap game over the previous three years would hinder his return to the elite form he displayed on The Black Album. Those concerns would be silenced with the release of Kingdom Come's lead-single, "Show Me What You Got," which arrived in late October of 2006, weeks prior to the album's release date.

Produced by Just Blaze and powered by a samples of Public Enemy's "Show 'Em Whatcha Got" and "Darkest Light" by Michael McEwan, of the Lafayette Afro Rock Band, "Show Me What You Got" was intended to be a celebratory and triumphant return for Jay Z, but would receive mixed reviews, Fickle critics were unimpressed by what they deemed a lackluster performance. It didn't help that Lil Wayne, who infamously declared himself "the best rapper alive since the best rapper retired" decided to attempt to show up his idol with a vicious freestyle over the same beat, stoking the uncertainty even more.

Released on November 21, 2006, Kingdom Come was billed as a more "mature" album in comparison to his previous work, highlighting his growth in taste, wealth, and his lifestyle as a multi-millionaire CEO. Featuring an impressive list of production talent, including frequent collaborators Just Blaze, Kanye West, Swizz Beatz, The Neptunes, and Dr. Dre, Kingdom Come was stacked to the brim with all of the bells and whistles to compensate for any rust on the part of Hov, but ultimately would not be enough to mask the album's blemishes.

Debuting atop the Billboard 200 with first week sales figures of 680,000 in its first week, Kingdom Come was the most anticipated album release in all of music. Fans were clamoring to hear if the God MC could still walk on water or if he had become a mere mortal. The albums opening selection, "The Prelude," features a sampled skit from the iconic blaxploitation film Superfly and finds Jay Z lamenting his itch to jump back into the thick of things and reclaim his throne. One of the superior intros in Hov's catalog, "The Prelude" is a great first impression, but subsequent tunes like "Oh My God" and the album's title-track pale in comparison and despite being more than serviceable for the average spit-kicker, border as pedestrian for a lyricist of his caliber.

Towards the middle of the album is where the real magic happens."Lost Ones," which sees Jay Z touching on his rift with former business partner Dame Dash, tumultuous relationships, and the guilt surrounding the death of his nephew, make for one of the more heartfelt and transparent tunes of his career.

Building on that moment with the chilling John Legend assisted number "Do U Wanna Ride," an open letter to former street associate-turned-inmate Emory Jones, Jay Z shows glimpses of the greatness that set him apart, but all of the good faith built is lost with "30 Something," which finds Jay attempting to normalize the lavish trappings of his lifestyle as a product of growing up, while refusing to admit that he's past his prime. Another brief moment of brilliance on Kingdom Come occurs with "I Made It," which is dedicated to the accomplishment of his mama proud, but Jay loses his footing again with the atrocities that are "Anything" -- which features guest vocals by Usher and Pharelll, and the ill-advised clunker "Hollywood," a collaboration with Beyonce that is undoubtedly their worst duet to date.

Beef and controversy are the topics at hand on "Trouble" and "Dig A Hole," but Kingdom Come manages to make a soft landing with the album's last two selections, "Minority Report" and "Beach Chair," both of which see Hov venturing outside of his comfort zone with favorable results. "Minority Report," which features Ne-Yo, and takes the Bush administration and the government to task for their lack of regard to the victims of Hurricane Katrina and is one of the more unsung compositions in Jay Z's career and a stellar example of his underrated social commentary.

"Beach Chair," which comes with a guest appearance from Coldplay's Chris Martin, is an intense sonic affair that finds Jay Z reflecting on his past, present, and future, and is among the best work found on his first post-retirement album.

Over the years, Kingdom Come has been maligned by reputable critics and fans alike, and has been panned as a horrible album from one of rap's greatest MCs, but with ten years worth of hindsight, that would be selling the album short, as it is truly full of quality offerings.

Sure, it may not feature the level of lyricism and near-perfection of a Reasonable Doubt, The Black Album, or Blueprint, but Kingdom Come is by no means a snooze-fest or a glorified Frisbee, as it contains a slew of records that many artists would pawn off their newborns for. For every "30 Something," which is really not all that bad, you get a masterpiece like "Lost Ones" and for every imaginable slight you could make against "Hollywood," which remains a tragic moment in the book of Hov, there's a "Anything," which despite its annoyance, has grown to become a guilty pleasure of sorts.

At the end of the day, when you boil it all down, yes, Kingdom Come is surely a shoo-in as Jay Z's worst album, but when examined on its own merits and not on the grading scale of an icon, it's an above average album that still bangs ten years later.

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Then & Now: Common Details How He And J Dilla Collaborated On The "Thelonious" Track With Slum Village

J Dilla and Common had a really tight creative bond and, at one point, lived together in L.A. So you know that Common got dibs on all of his hot beats first. They were hip-hop brethren just trying to work together and of all of their collaborations, living and posthumous, the track “Thelonius,” is the sharpest intersection of the two legendary artists' careers.

A singular song fit for two albums, the cut was placed on Common’s fourth studio album Like Water for Chocolate and Fantastic Vol. II, Slum Village's classic sophomore album. “Thelonius” as we know it was in a way an accident...a soulful snafu that we get to enjoy forever. In this excerpt of VIBE's Then & Now video franchise, Common shares how the song manifested unplanned, willed into existence by Dilla’s uncompromising creative compass.

The story is brought to life with artwork by visual artist supreme, Dan Lish (@DanLish1), the man behind Raekwon’s The Wild album artwork. The illustrations you see in this video are a small fraction of what you can find in his upcoming book: Egostrip Vol 1 – The Essential Hip Hop Art Book, a psychedelic visual history of hip-hop to be enjoyed by the genre’s oldest and youngest fans alike. 

Today is the last day to support Lish's Kickstarter for the incredible project. Click the following link for a copy of your own: https://www.kickstarter.com/projects/dan-lish/egostrip-book-1 

“I picked up on what inspired me about the artists, whether it be a certain lyric from a classic song or my perception of what may be going through their mind at the moment of creation,” says Lish.

There is much more to be said about all of these artists. For more stories on Common’s catalog, including several more Dilla cuts, stay tuned for the upcoming episode of Then & Now, where we dig deeper into notable tracks in the career of one Lonnie Rashid "Common" Lynn, Jr.

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Courtesy of Biz 3 / FCF

Quavo Is Introducing 'Fan Controlled Football' To The Culture

From their penchant for popping tags and name-dropping designer brands in their rhymes to the obsession with diamond-encrusted neckwear, the Migos are the modern-day poster-children for decadence and opulence. But when it comes to balling, group member Quavo is a seasoned veteran, literally and figuratively. Notorious for his appearances in NBA all-star celebrity games, where he routinely dominates the competition, Huncho has built a rep as one of the athletically gifted hit-makers in music today.

Although he's known for his skills on the hardwood, football is definitely among his passions. His newest endeavor, an ownership stake in Fan Controlled Football (FCF), the first professional sports league to put the viewer in the coach's seat and the general manager's office, in live time, finds him putting his focus back on the gridiron. Having inked an exclusive, multi-year streaming broadcast partnership with Twitch, the FCF will be the first professional sports league to be fully integrated with the streaming platform with the potential to explode in the digital age, where user interest and participation is the main recipe for success.

Having tossed the pigskin around as a Georgia high school football star, to Quavo, it was a no-brainer to get involved with the innovative league on the ground level. “We are building a brand and something different in our league – with the fans. They are in control and get to pick the team names, colors, logos, and more,” said Quavo said in a press release. “I’m really excited because FCF is fast-paced, high-scoring 7v7 football and you are in control. You go from sitting on the couch watching TV and pressing buttons on the remote to actually pressing the buttons on the plays.”

Played on "a 35-yard x 50-yard field with 10-yard end zones,” the Fan Controlled Football league will kick off in February 2021, with a four-week regular season, one week of playoffs, and a Championship week. The league will consist of former elite D-1 athletes, the CFL, XFL, and the Indoor Football League. Broadcasted live from the FCF’s state-of-the-art facility in Atlanta, each game will be 60 minutes in length and will allow the viewers to play a hand in the final outcome on Twitch.

Aside from sports, Quavo has been relatively lowkey on the musical tip as of late, with two years having passed since a solo release or a Migos album. However, according to him, this delay can be considered the calm before the storm, as he assures him and his brethren are primed for one of their biggest years yet. VIBE hopped on the line with Quavo to talk Fan Controlled Football, what he's got cooking in the studio, and his foray into TV and film.

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You're the newest team owner at Fan Controlled Football (FCF). What about the league piqued your interest and made you wanna get involved?

It's just showing my interest in the game of football and just trying to put a twist to where it's fan-controlled, fan-involved. A lot of times we watch the game, you watch the game, you just have some concerns. Sometimes you feel you can make the plays or call the play, [with FCF], you can sit on the couch and make the play. I just think we came together to make something crazy like that. I feel like it's something hard, it's something new, it's something fresh. It's a new beginning to something, like giving ni**as a chance. Giving D-1 players who couldn't make it to the league a chance, giving ex-NFL ni**as a chance if they still got it, [and] to go with the fans. When we saw the Falcons lose the Superbowl LI, we [fans] just knew what plays to call, we knew to run the ball. We were up 28-3. All we had to do was hold the ball, but we wanted to air it out and we made a mistake and lost to Tom Brady. Just like when Marshawn could've won a Superbowl. If they'd have given him the ball on the two-yard line. We knew that Marshawn Lynch was supposed to get the ball, [but] they wanted Russell Wilson to win it and the New England Patriots caught an interception. So that's how we're trying to shape it, we're trying to make something new.

The FCF will be live-streamed exclusively on Twitch, which has become one of the leading platforms for eSports live-streaming and will kick off in February 2021. Do you feel the FCF has the opportunity to fill that NFL void during the spring, particularly given the fan engagement that FCF enables?

Most definitely, cause after the Super Bowl, it just feels like you just want another game. You feel like you want one more game. and coming from something [where it's] eleven on eleven players to seven on seven, I feel [there’s] still a difference. After coming from watching the game and the regular politics, the regular structure of the game, now you're getting to be involved in a game that you can control. You can pick the jersey, you can pick the helmets, you can pick the jerseys, you can pick the coaches, you can pick the plays. I just feel there are two different dynamics [between the NFL and FCF). You come from sitting on the couch and pressing the remote to actually pressing the button on the plays."

Speaking of fan engagement, the FCF is the only professional sports league that enables fans to call the plays in real-time and puts the viewer in control of a game’s outcome like never before. Have you ever had that experience, as far as fantasy football?

Nah, but I'm into Madden. You can sit at home and pick your plays [with FCF], it's just like the lifestyle of Madden. It's like a reality of Madden. You're playing with people at home, with these unique athletes, and it's seven-on-seven.

As an Atlanta native, how significant was the FCF’s state-of-the-art facility being in your hometown in your decision to come on board as an owner?

It's very important. We got top-tier talent here, so it's opening up opportunities for a lot of guys. We're just glad it's in the south, it's like a hub. Everybody loves Atlanta and everybody wanna be here. Everybody wanna play and the weather is good.

NFL Super Bowl Champions Richard Sherman and Marshawn Lynch, boxing legend Mike Tyson, and YouTuber and podcaster empire Greg Miller are among the FCF's team owners. How does it feel to be competing against some of the most accomplished athletes and entertainers in the world? Have you had the opportunity to meet with any of them?

Most definitely. I have a good relationship with Mike Tyson. I've met Marshawn Lynch, it's a blessing. I feel like we're not competing right now, I feel like we're building a brand. I feel like we're building a league. I feel like we're trying to make the world understand what we're bringing to the table and what type of game we bring to the table, you feel me? I feel we're trying to create something different. Once we get the ball rolling, it's all together and moving into a real FCF league, then we'll get to compete. Of course, we all wanna win, but right now, we're just trying to get the foundation and the basics going and letting the strength of the owners and the relationships show on the field.

Being that you'll all be working with your respective fan bases in shaping your team’s personality and identity, any thoughts about what the team’s name will be? 

Man, I wish I did, but it's so straight strictly fans that you never know. Just like with music, can have an idea that is a smash, and then the fans don't think it is. You gotta strictly listen to the fans on this one. You gotta listen strictly to how they want it because it's the point of the game, that's the point of the league. We gotta let them control this game and then we the players and we the people that's listening to the people, the culture. FCF stands for culture, too, you feel what I'm saying? We listen to the culture, we're letting the culture run the field.

How involved will you be in the drafting and scouting process for your squad?

The fans make the draft, fans get to see everything. Open books, everything. It's an open thing, it ain't nothing to hide over here. The fans control it all.

In addition to sports, you've also been delving into acting, with cameos in shows like Atlanta, Star, Black-ish, and Ballers. Earlier this year, you appeared as yourself in Narcos: Mexico. How did that opportunity come about? 

Narcos reached out. We [Migos] had this song called “Narcos” on the [Culture II] album and we went and shot [the video] in Miami and everybody thought it was a Narcos movie scene and it ended up being Madonna's house. So we just shot that there and then they reached out to us. I think Offset had a performance somewhere and Takeoff had to do something and I just ended up being free that day and I went and shot it in New Mexico. I had fun, I loved it.

Do you have plans to pursue any supporting or leading roles in film or television?

Hell yeah, most definitely. I've been sitting down and having real great meetings with directors and people that got some movies in the works for 2021. I feel like I’ve got some good spots. I don't wanna tell it cause they’re gonna make some announcements. It's coming soon.

It's been two years since you've released a solo project or one with the Migos. Can fans expect any new music from you anytime soon and what are your next plans on that front?

Most definitely, hell yeah, we're shooting videos right now. We’re vaulting up a whole lot of videos so we can give you music and visuals at the same time. “Need It," the song came first and then the video. Right now, we wanna get a lot of videos and a lot records in the vault and smash [them] all at once 'cause it's been two years.

Pop Smoke's passing was one of the more tragic events in rap in recent memory, but his debut album, which you appeared on throughout, has been one of the most successful and acclaimed projects of 2020. How has it been seeing how the album’s been received, especially after you and him developed such a bond in a short time?

I'm happy. I'm proud of him, that was my partner. We did a lot of records, we spent a lot of time together and I feel like the album would've did even more with him being alive. A lot of people's album just go crazy when they die, I feel like his sh*t would've still went crazy. He had the momentum, he had the buzz. He was having fun. He was hot, he was fresh, he had everything ready.

This interview has been edited for length and clarity.

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Toots Hibbert performing at Hammersmith Palais, London in 1983.
Photo by David Corio/Redferns

Remembering Toots Hibbert

The best singers don’t need too many words to make their point. Otis Redding could let loose with a sad sad song like “Fa-fa-fa-fa-fa-fa-fa-fa-fa” and get you all in your feelings. Bob Marley got pulses pounding with his “Whoi-yoooo” rebel yell. Gregory Isaacs melted hearts with nothing more than a gentle sigh. Toots Hibbert, who died last Friday at the age of 77, could sing just about anything and make it sound good. One of the world's greatest vocalists in any genre, Toots paired his powerful voice with the understated harmonies of Raleigh Gordon and Jerry Mathias to form The Maytals, a vocal trinity that never followed fashion and remained relevant throughout the evolution of Jamaican music—from the ska era to rock steady straight through to reggae, a genre named after The Maytals' 1968 classic “Do The Reggay.”

Whether they were singing a sufferer’s selection (“Time Tough”), a churchical chant (“Hallelujah”), or the tender tale of a country wedding (“Sweet and Dandy”), The Maytals blew like a tropical storm raining sweat and tears. The lyrics to Six and Seven Books,” one of The Maytals' earliest hits, are pretty much just Toots listing the books of the Bible. “You have Genesis and Exodus,” he declares over a Studio One ska beat, “Leviticus and Numbers, Deuteronomy and Joshua, Judges and Ruth...” Having grown up singing in his parents' Seventh Day Adventist Church in the rural Jamaican town of May Pen, Toots knew the Good Book well.

The Maytals broke out worldwide in 1966 thanks to the song “Bam Bam,” which won Jamaica's first-ever Independence Festival Song Competition, held during the first week of August as the island nation celebrated both independence from Great Britain in 1862 and emancipation in 1834. They would go on to win the coveted title two more times, but “Bam Bam” was a singular song with a message every bit as powerful as Toots' voice. “I want you to know that I am the man," Toots sang. He was young and strong, ready to "fight for the right, not for the wrong." The trajectory of "Bam Bam" would not only transform Toots' life but make waves throughout popular music worldwide.

"Festival in Jamaica is very important to all Jamaicans," the veteran singer stated in a video interview this past summer while promoting his latest entry into the annual competition. "I must tell you that I won three festivals in Jamaica already, which is “Bam Bam,” “Sweet & Dandy” and “Pomp & Pride.” Toots described that first festival competition as a joyous occasion. "Everybody just want to hear a good song that their children can sing," he recalled. "Is like every artist could be a star."

In 2016, on the 50th anniversary of "Bam Bam" winning first place, Toots looked back over the legacy of the tune that made him a star. "I didn’t know what it means but it was a big deal," he told Boomshots. "You in the music business and you want to be on top and you write a good song and you go on this competition and if they like it then it becomes #1." After The Maytals won, the group was in demand not just all over the island, but all over the world. "We start fly out like a bird," he says with a laugh. "Fly over to London."

"Bam Bam" went on to inspire numerous cover versions, starting with Sister Nancy, Yellowman, and Pliers. It would also be sampled in numerous hip hop classics, and interpolated into Lauryn Hill's "Lost Ones." But according to Toots, he did not benefit financially from these endless cover versions. "People keep on singing it over and over and over, and they don’t even pay me a compliment," he told Boomshots. "I haven’t been collecting no money from that song all now."

 

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“This man don’t trouble no one... but if you trouble this man it will bring a Bam Bam” Original Maytals Classic @tootsmaytalsofficial 🎶 All them a talk, them nuh bad like Niya Fiya Ball ☄️🔥💥 via @tonyspreadlove . 💥💣🔫#Boomshots

A post shared by Word Sound & Power (@boomshots) on Sep 12, 2020 at 8:19am PDT

When Toots began singing in his parents' church, music was not seen as a career prospect, and the profits were slim for Jamaican recording artists in the 1960s. "Those days we get 14 cents for the record to play on the radio," Toots said. "I get three shillings and five shillings for a number one record, which I had 31 number one record in Jamaica... It’s not about money for me. It’s about the quality that Jamaicans need to go back in the festival jamboree... You gotta talk to the children."

On the poignant “54-46 (Was My Number),” Toots recalls the dehumanization of his arrest and 18-month imprisonment at Jamaica's Richmond Farm Correctional Center for what he always insisted was a trumped-up ganja charge just as his music career was taking off. The song's crescendo comes two minutes in when Toots breaks into a scat solo that cannot be translated into any language known to man, delivered with palpable passion that made his message universal. During Toots' ecstatic stage performances he would follow this riff by commanding his band to “Give it to me... one time!” Then the 'd make 'em say Uh!  (Way before Master P!) “Give it to me... two times!” Uh! Uh! And so on and so forth until Toots worked the place into a frenzy.

The Maytals' live show was so explosive that Toots began touring all over the world, opening for rock megastars like The Rolling Stones and The Who. While Bob Marley richly deserved the title King of Reggae, his friend Toots was performing internationally before The Wailers, and remained a force to be reckoned with throughout his life, blazing a trail for generations of reggae artists to follow in his footsteps.

On his Grammy-winning 2004 album True Love, Toots recorded some of his greatest hits with a host of legendary artists, many of whom were also good friends, including Willie Nelson, Mick Jagger, Keith Richards, Bonnie Raitt, Sheryl Crow, and Eric Clapton. His 2006 cover of Radiohead's "Let Down" was a favorite of the band's, who used to play it on their tour bus. Radiohead guitarist Jonny Greenwood called Toots’ version “truly astounding,” according to Easy Star Records Michael Goldwasser.

Toots supported himself and his family by touring all over the world. During a 2013 show in Richmond, Virginia he was singing John Denver's "Take Me Home Country Roads" when a teenager in the crowd threw a vodka bottle at the stage and hit him on the head. He suffered a concussion and had to stop touring for several years. As his first album in a decade, Got To Be Tough was highly anticipated when it was released on Trojan Jamaica label August 28. On the cover the former boxer and lifelong fighter can be seen throwing a punch. Just a day after the album dropped, Toots came down with symptoms similar to COVID 19. Within a few days he was hospitalized where doctors placed him into a medically induced coma from which he never recovered. As his Tidal obituary pointed out, he passed away exactly 33 years after his old friend Peter Tosh died by gunfire.

Songs like "Just Brutal" from the hit different now, with Toots pleading for more love in a world gone wrong. "We were brought here," Toots sings. "Sold out. Victimized brutally. Every time I keep remembering what my grandfather said before he died."

“I’m feeling alright,” Toots said the last time we spoke, while he was still sidelined with stress issues due to the bottle-throwing incident. "I’m feeling alright. I’m feeling alright. I’m feeling just cool because is Jah works. You seet?" I asked him if the song "Bam Bam," was about him—a peaceful man who should not be provoked—or else. "Nooo don't trouble him," Toots said with a laugh. "It’s gonna be double trouble, triple trouble. A lot of trouble."

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