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underground-hip-hop-affiliated · 9 months

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Eloh Kush x Jahbaton- [ Beautiful ] Prod By Juelz White

#Eloh Kush #Jahbaton #Juelz White

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mesillusionssousecstasy · 9 months

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TSITP 2x06 - "Love Fest" : Playlist

Here the songs of the episode in the chronological order :

"Delicate" by Taylor Swift (Belly & Jeremiah)

"Tonight" by Phoenix featuring Ezra Koenig (buying alcohol - Conrad & Jeremiah)

"Oh Boy" by Cam'ron featuring Juelz Santana (buying alcohol - Belly)

"Doin'Time" by Sublime (Taylor finishing doing Belly's make up)

"New Gold" by Gorillaz (Cam doing the DJ)

"Party in the U.S.A. by Miley Cyrus (Taylor & Steven's dance)

"Treat Me" by Chlöe (Belly & Jeremiah almost kiss)

"All the Small Things" by Blink-182 (Steven & Milo's fight)

"Billie Eilish" by Armani White (Steven & Milo's fight II)

"Boys Don't Cry" by Anitta (Jeremiah & Conrad's fight)

"Snow On The Beach" by Taylor Swift (Belly & Conrad's fight & the end)

#tsitp season 2 #tsitp 2 #tsitp #tsitp playlist #tsitp songs #the summer i turned pretty #the summer i turned pretty season 2 #playlist

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muznew · 4 months

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Top Streamed Tracks 2023: Trap / Wave Beatport

- Artists: Beatport DATE CREATED: 2023-12-20 GENRES: Trap / Wave Tracklist : 1. Levity, Dem Jointz - Flip It(Original Mix) 2. Mr. Oizo, Skrillex, Missy Elliott - RATATA(Original Mix) 3. Skrillex, Flowdan, Lil Baby - Pepper(Original Mix) 4. Aluna, Skrillex, Kito - Inhale Exhale(Original Mix) 5. Viperactive - Angels Crest(Original Mix) 6. Jon Casey, Pauline Herr - Fallen(Original Mix) 7. TroyBoi, Armani White - Shut Shit Down(Original Mix) 8. TroyBoi, Jon Casey - Zurna(Original Mix) 9. Beam, Skrillex, Flowdan, Peekaboo - Hydrate(Original Mix) 10. Princess Superstar, XotiX - Tik Tok(Original Mix) 11. Joker, Skrillex, Sleepnet - Tears(Original Mix) 12. Wavedash, Isoxo - OK!OK!OK!(Original Mix) 13. Isoxo - IGNORANT(Original Mix) 14. Isoxo - dontstopme!(Original Mix) 15. Isoxo - kidsgonemad!(Original Mix) 16. Control Freak, Pauline Herr - Violet(Control Freak Remix) 17. Lizdek, Pauline Herr - Let You Go(Lizdek Remix) 18. Juelz - THE POWER!(VIP) 19. Read the full article

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djmusicbest · 4 months

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Top Streamed Tracks 2023: Trap / Wave Beatport

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trascapades · 1 year

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📷 #ArtIsAWeapon

Reposted from @bronxdocumentarycenter & @nuevayorkinos

🔊 OPEN CALL 🔊

Nuevayorkinos is teaming up with @bronxdocumentarycenter again this year for their annual #LatinAmericanFotoFestival.

Submissions now open for the forthcoming show:

AND IF IT WASN’T FOR THE BRONX

A Celebration of Latino & Caribbean Contributions to Hip-Hop

In honor of our beloved Hip-Hop’s 50th Birthday

Submission Guidelines:

📍 Photos must have been taken between 1973 and 2010 within the Five Boroughs

📍 Those submitting must be Latino and/or Caribbean New Yorkers

📍 Photos and Stories must center Hip-Hop in some way, whether focusing on music, fashion, graffiti, etc.

📍 Send submissions via DM to @nuevayorkinos or via email, [email protected]

SUBMISSIONS ARE DUE FRIDAY, MAY 12TH.

We’ve been here since Day 1, coming together as Black, Latino, Caribbean, and disenfranchised white New Yorkers to create one of the most important art forms ever grace the globe.

Whether thinking about DJ Kool Herc and Doug E Fresh, Fat Joe and Big Pun, N.O.R.E. and Juelz, or even Nicki Minaj, Cardi B, Pop Smoke, and Ice Spice, Caribbeans and Latinos have been integral to the birth, growth, and continuation of Hip-Hop.

We look forward to seeing what you send in!

#nuevayorkinos #OpenCall #IfItWasntForTheBronx #LatinaPhotographers #LatinoPhotographers #CaribbeanPhotographers

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invaidee-blog · 1 year

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#144

Backdrop- Evol - Juelz's Shoe Game

Hair- $$$//PL: Shakur SidePony

Top- Jeune by Rowne. Kristen Bralette Set v2 - White

Skirt- Rowne. Vilma Denim Skirt - Bleach

Shoes- wired. Compass Sneakers - Blue

Arm tattoo - Hoodlem - Sober Tattoo

Thigh tattoo- Hoodlem - Transform Thigh Tattoo (BOM)

#secondlife #sl secondlife slblogger slblog shopveilance shopbetrayal boots suit outfit #slblogger blogger blog secondlife seul nu rama.salon #secondlife slfashion slphotography

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aaknopf · 1 year

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In his prose debut, the poet and professor of literature Joshua Bennett tells the story of the exponential growth of spoken word poetry—of how, he writes, “a specific performance subculture came to be one of the most influential literary genres of our age.” With its roots in the Black Arts movement, spoken word grew out of the dynamic scene at New York’s Nuyorican Poets Cafe, itself the outgrowth of an East Village living-room hangout hosted by the visionary Miguel Algarín in the 1970s; he and other writers of color would gather to share and critique one another’s work, probably not imagining that the highly expressive, tell-your-truth style performance poetry they nourished would go global within a few decades—from Broadway’s Hamilton and Amanda Gorman on the inauguration stage to a robust presence in classrooms, at protests, and on campuses around the world. Joshua, a shy kid who discovered his voice in the heyday of poetry slam competitions, describes his first time out at the Nuyo in the passage below.

Excerpt from SPOKEN WORD:

On a Friday night in November of 2006, my senior year in high school, I put on a royal-blue T-shirt emblazoned with Bob Marley’s face, and a pair of red-and-white Nikes I’d purchased with my Foot Locker employee discount. I boarded the 1 train from 242nd Street after taking the BX9 bus from my childhood home, heading south for Manhattan, to a place called the Nuyorican Poets Cafe. Earlier that fall, I qualified for my first city-wide youth poetry slam, which was to be held at the famous East Village bar and global center for spoken word: the most famous poetry slam venue in the world. The only other time I had been to the Village was to purchase my first album, Juelz Santana’s From Me to U, from a record shop not too far from the Cafe. I would keep the record as contraband that year—no hip-hop allowed in the house—letting its sharp cadences and outlandish tales of uptown bravado color the raps I recited to myself in the still moments between studying for English class and writing for the stage, which by November had already become my second job, alongside the gig at Foot Locker. The walk from the D train to the Cafe was an education. All the elements of my surroundings were turned up to ten: each radiant color and irrepressible sound. Bass blasting from the windows of cars, dollar pizza shops packed from wall to wall, rows of sunglasses stacked higher than any passerby. When you got to the part of Avenue C where the Cafe lives, you knew it immediately by the line that stretched all the way down the block (whether we’re talking Wednesday or Friday, it made no difference, I would soon learn), the large black awning and booth that led to the door, and the mural on the wall depicting the famed Nuyorican poet Pedro Pietri. Pietri was sketched in blue and black and surrounded by red bricks on all sides. The mural also featured five faceless figures in hats and trench coats, as if a collective composed entirely of detectives who also happened to be ghosts.

It took about twenty minutes to get to the front of the line, at which point I paid the entrance fee and stepped inside the venue. The first thing I saw was the blast of Technicolor: red and blue and bright yellow where the stage lights hit the back of the room. All the chairs in the venue were aimed toward the back of the space, where there was a bright vermilion rug onstage, and a wireless microphone in a metal stand on top of that. There were paintings all over the walls, and a DJ in the back spinning records in and out of one another at warp speed. The room was bristling, alive. On the night of that first slam, my big sister, Latoya, had just returned home from her senior year of college. She came all the way down from Yonkers to the Lower East Side to see me perform. The host that night was a poet and emcee named Jive Poetic, and the place was packed. As is custom, the DJ played Bell Biv DeVoe’s timeless hit “Poison” right after the judges were chosen and right before the sacrificial poet touched the stage. Thankfully, I didn’t draw the first slot during this particular slam. Generally speaking, no one wants to go first. When that happens, you have to set the tone for the night, and have no idea what kind of work your competitors will bring to the table. Whether you opt for a funny poem or something a bit more politically charged becomes a gut decision, instead of a strategic choice based on audience reaction and the poet who performs right before you. It’s a tough spot to be in.

Ten teenagers signed up for that night’s competition and discerning an early favorite would have been difficult amid such a large field. I did my best to stand out. As a friend’s former mentor used to say, “Your poem starts before you touch the stage”—by which she meant that the process of communicating who you are, what you are about, begins the moment the audience first sees you, before you have even opened your mouth. It may have been my first time performing at the Nuyorican, but I was familiar with the lore. I knew that when the poetry resonated, it got wild in there: people yelling, banging on tables, laughing so loudly that you could barely hear the poet. Likewise, you could just as easily tell when the crowd wasn’t into it, and that was my worst fear— not rejection so much as indifference. The point of slam is not simply to be heard. You want to be engaged, encountered, unforgettable.

The poem I performed that night was the first one I had ever written for the stage: “The Talented Tenth.” As its title suggests, it was a meditation on W. E. B. Du Bois’s theory of racial uplift (a theory, it bears mentioning, he would eventually retract). The ideas that would become “Talented Tenth” were shaped during the two-hour commute from my parents’ house to my private high school in Rye, and then back again each day. For all four years of high school, I would wake up at five a.m. and speed down the block with my laptop and books in my backpack while just about everyone else in the neighborhood, my family included, was still asleep. On those walks, I would think at length about what it meant to have been selected for this opportunity. I knew that my friends, family, and classmates from childhood all would have benefited greatly from the sort of educational resources I now had access to. Until I discovered slam, I was never able to put that feeling into words, and wrestle with what it meant to me, and for how I should live my life. Though I was exposed to poetry at home—Toya kept a copy of Maya Angelou’s “Phenomenal Woman” taped to her bedroom door—the spoken word poets who entered my life my senior year, once I started going to slams, had an energy to their work that felt altogether new. For one thing, the vast majority of the poets I met around that time were my age. They used profanity unabashedly (to my mother’s chagrin), they talked about teenage angst, structural inequality, and global revolution in evocative ways, often addressing all these subjects in the span of a single poem. I knew from the very beginning that I had found my people—and my calling.

Jive Poetic called out my name, and I walked up to the microphone to mild applause and the discernible voice of my sister yelling “Let’s go, Josh!” from the front row. I took a moment to survey the crowd, closed my eyes, and tried to reimagine the scenes that brought me to this moment. The venue was packed to the brim that night. The stage lights shone so brightly I could barely see beyond the front row. The poem began:

I am a member of the Talented Tenth W. E. B. Du Bois’s theory in the flesh The cream of the crop the best of the best or at least that’s what I’m told by my standardized tests . . .

The poem clocked in at a little under three minutes, in accordance with the slam rules I had memorized well in advance. It reckoned with my experience of double-consciousness not only as someone who is both black and American—what Du Bois describes as “two warring ideals in one dark body”—but as a child of working people who attended an elite, predominately white high school. It then moved to a much larger narrative about racial discrimination and injustice, detailing the history of segregation, lynching, and structural poverty that I had learned from my parents over the years. Like so many spoken-word performances, “Talented Tenth” was a combination of autobiography and social critique. It was my attempt to hold a mirror up to myself and my surroundings at the same time, to invite everyone within earshot to hear my story and to see a piece of themselves in it. The performance went over well, and I was awarded a near-perfect score by the judges. Ultimately, I was selected as one of the winners of that night’s slam who would go on to compete in the semifinal phase of the citywide youth poetry slam competition. After the bout, Latoya took me out to Wendy’s to celebrate. It was truly a banner night.

Sitting at the bar that evening was a man named Miguel Algarín. I had never met him, or even heard of him, before that night’s slam. When I returned to the scene in earnest during the summers after my freshman, sophomore, and junior years of college, Miguel remembered me, and would say so. He never offered advice, or feedback on individual poems, or anything like that. The point, I think, was simply to clarify that the work had resonated with him. It would take me almost a decade of study after those first encounters with Algarín to begin to understand his contribution to the art form I was every day growing to love and setting out to transform in my own way. Without my knowing it, his dreams had been the foundation for my own.

. .

More on this book and author:

Learn more about Spoken Word and browse other books by Joshua Bennettincluding his recently published poetry collection, The Study of Human Life (Penguin).

Follow him @SirJoshBennett on Twitterand Instagram.

Hear Joshua Bennett speak on “Friendship and Black Study” with Jarvis Givens at the National Museum of African American History on April 5 (registration via Eventbrite, the event will be in person/online). Joshua Bennett will participate in the Vernon and Marguerite Gras Lecture in the Humanities Series at George Mason University in Virginia on April 13 (register here; the event will be in person); he will also read in person with The Friends of the St. Paul Public Library in Minnesota on April 20.

See the young Joshua Bennett perform his piece “10 Things I Want to Say to a Black Woman.”

Visit our Tumblr to peruse poems, audio recordings, and broadsides in the Knopf poem-a-day series.

To share the poem-a-day experience with friends, pass along this link.

#BennettAudio #Bennett Audio #Joshau Bennett #Spoken Word #Knopfpoetry #Knopf Poetry #Slam Poetry #poem-a-day #National Poetry Month #poetry #voice

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rkdlrhe5a · 1 year

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Naive Runaway Carmen Calloway eats Juelz Ventura pussy for a place to stay DogHouse Huge Dick Leaves Creampie Inside Her Espiando a hombre hetero de verga peluda en chalco Teen Sisters First Anal Hand/Blowjob Small Cock Desi Girlfriend Taking Boyfriends Big Cock Hot Stepmom Catches Teen Daughter Masturbating (Julia Ann, Penelope Reed) Escort Asian shemale comes in a hotel room for big dick Amateur Black Babe Alexa Malone Makes Her First Hardcore Chubby white tranny

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cyarskj1899 · 1 year

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Sinzae Reed's Alleged Killer Has Charges Dropped

Beg Ya Pardon?! Murder Charges Dropped Against White Man Who Fatally Shot 13-Year-Old Sinzae Reed Multiple Times In The Back

Posted on December 29, 2022 - ByJason "Jah" Lee

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Telling you right now, this story is about to make you hotter than fish grease. Thirteen-year-old Sinzae Reed was shot multiple times in the back and killed by 36-year-old Krieg A. Butler Sr. in Columbus, Ohio back on Oct. 12 of this year.

According to the Columbus Dispatch, the Franklin County Prosecutor’s office filed murder charges against Butler the very same day. One week later, those same prosecutors filed a motion to dismiss the charges and Municipal Court Judge Mike McAllister granted the dismissal. Butler was immediately released from jail, had his $1 million bond wiped clean, and has been walking God’s green earth as a free man ever since.

Why would prosecutors and the judge do such a thing, you ask? Well, they say they did because Butler claimed “self-defense.” That’s it. All he had to do was say “self-defense” and *poof* murder charges are gone. All we hear is Paul Mooney saying, “the complexion for the protection.”

Columbus police homicide Det. Keith O’Connor said Thursday that “there has been a claim of self-defense” by Butler and his mother, but declined to comment further, citing an ongoing police investigation.

Sinzae Reed’s family does not believe that he was in possession of a weapon nor was he threatening to harm Butler. Moreover, Butler was convicted of domestic violence charges and under federal law was not in legal possession of a firearm.

Let Franklin County Prosecuting Attorney Gary Tyack tell it, the dismissal is a standard operating procedure but the case could still be presented to a grand jury for indictment.

“Not every case initiated in Municipal Court is presented to the Grand Jury,” the release said. “This particular case is still under review for possible presentation to the Grand Jury, and unfortunately, I cannot advise you when the case will be presented to the Grand Jury.”

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So, charge a person with felony murder, dismiss the charges almost immediately, then say, “we can still see about charging him later”? That makes zero sense. Somebody got some ‘splainin’ to do.

Categories: Bolitics

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