azealia banks mixtape

We told y'all Azealia Banks' Twitter hiatus wouldn't be permanent. She returned to drop her new mixtape, Slay-Z, and the early reception is. Azealia Banks has revealed via her twitter that she is to rename her mixtape 'Fantastic' to Fantasea. Fans in Scotland where gutted she had. Download Latest Foreign Music | Mp3 Song Download | Music Mp4 Download Video | Audio Music | Hit Songs | Hip-hop | Album Zip File Download.

Azealia banks mixtape -

Clash Magazine Jul 24, 2021 · May 25, 2021. Jun 11, 2021 · The BET Hip Hop Awards 2021 celebrate the life and influential career of Biz Markie, the artist behind "Just a Friend" and one of the original voices of the New York City rap scene. INDUSTRY BABY (feat. Vivid Seats recognizes that for true hip hop fans, attending concerts isn’t enough. O. 0. WGN-TV. Minaj’s first album “Playtime is Over” was launched in 2007 and she won the Female Artist of the Year award at the Underground Music Awards in 2008. Scrobble songs to get recommendations on tracks you'll love. Other new rappers to watch for in 2021 include Baby Keem, Bree Runway, Fivio Foreign, and Erica Banks. . Having taken charge of the rap game, it’s never surprising now to see a name like Nicki Minaj killing the Billboard charts. Hip hop seems to be more popular in 2021 than ever before, with top rap and hip hop artists flourishing in music’s mainstream. Related The best Australian hip-hop track of all time, according to 20 authorities Jan 14, 2021 · 1/14/2021. Pop, R&B and Rap aspirants of uncanny talent such as —Destiny Rogers, Cardi B, Becky G, Teyana Taylor and Asian Doll, among others—are demonstrating an immodest, near-singular, anti-populist aptitude for industry-wide reinvention. Nardo Wick, SoFaygo, Muwop, Stunna Girl, HoneyKomb Brazy, Hood Tali, G. Aug 22, 2017 · 10 Rappers You Should Know Right Now: February 2021. Another Buffalo-based badass, Caesar has a Nov 06, 2013 · Her first mixtape, Suburban Rap Queen, dropped in 2004, and her first self-titled EP in 2010. Hip hop is a genre that features many famous and witty sayings. Oct 04, 2017 · Rhymesayers has been banging out underground, backpack rap manifestos from the likes of Aesop Rock, Atmosphere, and Brother Ali since 1995. Run The Trap was created in July 2012 to bring underground trap music, Hip Hop, Club Music and other related genres to the forefront. tv. Centeno February 18, 2021 8:00AM. Latruth is an actor, a rapper, a singer, and a songwriter. Mar 21, 2021 · Dive in to get to know rappers and R&B prodigies who’ll be turning heads in 2021 and beyond. Pooh Shiesty - 2021 XXL Freshman. Aug 26, 2015 · Presenting DX’s picks for the 30 best underground Hip Hop albums dropped since the year 2000. Jay-Z Shawn Corey Carter, aka JAY-Z, is an American rapper and a hip-hop artist who was born in Brooklyn on December 4, 1969. B. Discovered by Lil Wayne in a video-shoot contest, he was the youngest rapper to be signed in a label. Sep 20, 2021 · Your Guide to the Artists of Juice Jam 2021. 4. June 6, 2021. Pop Smoke & Fivio Foreign are leading names in the Brooklyn Drill scene. , SG ALI, BlueBucksClan, and R5 are all rappers you need to know right Mar 21, 2021 · Dive in to get to know rappers and R&B prodigies who’ll be turning heads in 2021 and beyond. Sep 05, 2020 · 2021 Rappers. 10/05/2021 4:14 Browse the top female russian rap artists to find new music. Apr 23, 2021 · Shock G, Humpty Hump Rapper and Frontman of Digital Underground, Dead at 57. Aspiring Female Rappers Wanted for Online Videos If You are an aspiring Rapper, Or have the ability to carry a flow and rap along to your Favorite Rapper on the Radio then This might… more Multiple roles Jan 09, 2021 · Herein, we would be taking a broad look at the Top 20 Best Rappers in the World right now. Way 2 Sexy (with Future & Young Thug) Drake, Future, Young Thug. Nov 06, 2013 · Her first mixtape, Suburban Rap Queen, dropped in 2004, and her first self-titled EP in 2010. ” The scene loved female rappers and didn’t constrict their opportunity or define them based on gender. Some, like Masta Ace, have been around since the 1980s Jul 02, 2021 · Nicki Minajis a beautiful pop singer who got famous with tracks, such as Anaconda, Starships, and Super Bass. Jul 28, 2021 · Here are the best female rappers of 2021, ranked by fans everywhere. Luvbug Recordings. Diva Hip Hop Music Showbiz Video Zone Vixens WorldWide Network October 14, 2021. A Tatarstan native, the artist puts a unique cultural take on her rap, flitting between rapping in Jan 02, 2020 · RAP AND HIP HOP BLOGS. Everyone knows the giants of rap, but it's the underrated and underappreciated rappers who are the true artists. Copied to clipboard MelyMel became one of the first female rappers in her native country. What is “mumble rap?” “Mumble rap” is an up and coming term for a new sub-genre of hip hop music that started in the mid-2010s. com Jul 02, 2021 · Nicki Minajis a beautiful pop singer who got famous with tracks, such as Anaconda, Starships, and Super Bass. ranker. Female rap artists have dominated the music charts so far this year. Feb 17, 2019 · 10 Most Underrated Rappers. Feb 25, 2020 · The music videos of Indian Rappers are trending in youtube and the tracks in Spotify charts. 49. Arik McArthur/Miikka Skaffari/WireImage. Top Rappers. Over the years, female rappers have been competing to climb the ladder along with other ethnicity of rappers. Todas las canciones de Bad Bunny. Lil Kim 150 cm / 4’1. Diva Hip Hop Music Showbiz Video Zone Vixens WorldWide Network. If there’s any musician who can rhyme circles around the rap game, all the while keeping it real, it’s Che Armani Caesar. Filter by artist name, alias, country & more. by University Union. The rapper, born Gregory Posted: (1 week ago) Jul 28, 2021 · Here are the best female rappers of 2021, ranked by fans everywhere. See more ideas about female rappers, rappers, real hip hop. Love of hip hop is an itch that needs to be scratched daily, with music, articles, podcasts and more. Shea Marie FT. Oct 03, 2019 · Female artists like Lizzo and Saweetie have released hit songs. Top 5 female K-pop rappers in 2021 Posted: (1 week ago) Jul 28, 2021 · Here are the best female rappers of 2021, ranked by fans everywhere. Best rap quotes and lyrics about life, love and success. Baby Keem - 2020 Oct 12, 2021 · In 2021 he announced his schedule to perform at the Super Bowl LVI halftime show along with other rappers like Dr. Aug 23, 2021 · He had worked with Block B's Zico during their underground days. ^ "Lil Durk's brother DThang reportedly shot and killed". Only including the most popular female rappers releasing new music today, this list of current female rappers features popular stars, like Enny, Flo Milli, and Chika, as well as the most famous names in hip hop, like Nicki Minaj and Cardi B. 50 Best Rappers of Hip Hop in 2021 This list presents the year’s leading rappers and hip-hop artists. Oki/young igi/otsochodzi-OIO tierlista. The name included buzzing standouts like Pooh Shiesty, 42 Dugg, Blxst, and more. Oddisee – The Good Fight. com) – South London Rapper, BeckMilli is back in the music scene with the news of the release of her upcoming song, ‘Take Man Out’. Antoinette Asian Doll Azealia Banks Awkwafina Bhad Bhabie BigKlit Bonnie Blue Boss Bbymutha bktherula Comaneci Chastain Stone Cardi B Cuban Doll CupcakKe Coi Leray Doja Cat Da Brat Dick Rydah Evidenc3 (Montreal rapper) Foxy Brown Flo Milli Fmc Kellss Gavlyn Holly Hood ProE https Oct 08, 2021 · Rapper Latruth’s wife, MrsLatruth, has been involved in the controversy recently. * Please note that rappers must have at least 6 battles to qualify for the leaderboards. ^ "Atlanta Rapper Dae Dae Wanted For Stabbing Female Teen Dunkin Donuts Employee". Jack Harlow) Lil Nas X, Jack Harlow. September 20, 2021. Shock G, the co-founder of the iconic hip-hop group Digital Underground, has died. LiL MC is a bilingual Bay Area-based female rapper, producer and hip hop educator with Hip Hop for Change inc. HipHopDX. India has numerous proficient rappers however let’s have a look at the Top 10 Best Rappers In India 2021 who’re taking the Indian hip-hop industry by storm commercially and within the underground tradition as properly. Play it LOUD! Discover new releases here weekly. Sep 03, 2021 · The Venus Tapes by Various Artists, released 03 September 2021 A compilation album of underground female artists. Oct 27, 2021 · Benita Speaks About Her New Music & More with WorldWide. Top 5 female K-pop rappers in 2021. Oct 29, 2020 · The Afro-Latina rapper, born Belcalis Marlenis Almánzar, is arguably the biggest female artist in hip-hop today, and she has consistently used music to embrace her Dominican culture Listen now only on Spotify: Hip Hop Songs! Best New Rap Hits 2021. Antoinette Asian Doll Azealia Banks Awkwafina Bhad Bhabie BigKlit Bonnie Blue Boss Bbymutha bktherula Comaneci Chastain Stone Cardi B Cuban Doll CupcakKe Coi Leray Doja Cat Da Brat Dick Rydah Evidenc3 (Montreal rapper) Foxy Brown Flo Milli Fmc Kellss Gavlyn Holly Hood ProE https Top 100 Rap Songs of 2021 - Best Popular Rap Songs 2021. Slick mainstream rap has always found its raw Posted: (1 week ago) Jul 28, 2021 · Here are the best female rappers of 2021, ranked by fans everywhere. One of Philadelphia’s first prominent MCs, Bahamadia, a former producer, was moved to join the rap game after being inspired by the likes of female rappers Salt-N-Pepa and Lady B Ten Miami Rappers to Watch in 2021. Polo G - 2020 XXL Freshman. FMS España 2020. Find the best music on Album of the Year. 10/05/2021 4:14 See the list of GRAMMY Awards Winners & Nominees for the Best Female Rap Solo Performance. Jun 10, 2021 · The rapper's death was originally shared by Digital Underground co-founder Chopmaster J. feat Gang Gang Polo G Calling My Phone Lil Tjay, Travis Scott, Doja Cat, Lil Nas X, 24KGoldn, Young Thug, G-Eazy, Future, Drake, Post Malone, Dj Khaled, Lil Xan, Kendick Lamar, 21 Savage, XXXTENTACION. Posted: (1 week ago) Jul 28, 2021 · Here are the best female rappers of 2021, ranked by fans everywhere. The artist was 57. We hope you don't only get your Trap Music Jul 19, 2021 · Home CELEBRITIES Doja Cat Calls Out Nick Cannon For Bad Interview Screenshot 2021-07-19 at 20-36-17 Doja Cat Speaks On Misogynistic Views Of Female Rappers How She Handled Being Culturally […] 6. underground female rappers 2021

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Azealia Banks: ‘Fantasea’ player

For someone who has yet to release a proper album, 21-year-old Harlem rapper-singer Azealia Banks has stirred up an impressive amount of trouble over the past year.

Banks blurs the lines between hip-hop, contempo Caribbean club music and electronica, and possesses a genuine Id-driven unpredictability. The self-described “rap Larry David” is set to air even more grievances — and shoot for a real spot in the pop-rap firmament — when her full-length debut drops in early 2013.

A dropout from Gotham’s Fiorello H. LaGuardia High School of Music & Art and Performing Arts, Banks first attracted attention with 2009’s Diplo-produced single “Seventeen.” The resulting buzz was loud enough to get Banks signed to XL Recordings, though she quickly and publicly burned her bridges with the label. She was then scooped up by Interscope just as her relentlessly profane single “212” made her a household name last winter, breaking into the top 20 on the U.K. charts.

Since then, the pugnacious Banks has notched up a jaw-dropping set at Coachella; stirred up teapot Twitter tempests with Iggy Azalea, T.I., Jim Jones and many others; threatened to quit rap; signed with, then abruptly parted ways with, Lady Gaga manager Troy Carter; placed third on the BBC’s Sound of 2012 poll; cut tracks with M.I.A. and Lana Del Rey; and released Interscope EP “1991” to a Billboard Hot 200 berth, followed by mixtape “Fantasea” in July.

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Источник: https://variety.com/2012/music/news/azealia-banks-fantasea-player-1118058865/

The Complete History of the Kings and Queens of New York Rap

On Thursday, Ringer Films will debut the latest installment of its HBO Music Box series, DMX: Don’t Try to Understand. Over the next few days, we’re chronicling the rapper’s rise and place in hip-hop history. Today, we’re looking into the lineage of the kings and queens of New York rap, a title DMX held in 1998 and burnished like no one before him or since.


To coincide with the release of DMX: Don’t Try to Understand, we set out to give the proper context for where X fits in the annals of New York rap. While record sales are one thing—and those videos of him controlling thousands of fans like a marionette are another—it’s difficult to quantify just how monstrous his impact was in 1998, the year he dropped two chart-topping albums and knocked hip-hop, and the industry around it, off its axis.

So we looked back and forward from that midpoint—from recorded rap’s beginnings in the late 1970s all the way through the present—to pinpoint who, at any moment, was the king or queen of New York rap. Some reigns are years long and others last a handful of weeks; all had a creative and cultural impact that helped shape a genre and a city.

This exercise is not perfect and does not provide a holistic view of rap in New York in any given year. It naturally does not document any of the underground movements that, collectively, come to be just as crucial as any single star. Sometimes two deserving artists reach the height of their powers at the same time; sometimes, as with Ghostface (and debatably with Cam’ron), a rapper’s time on the throne does not align with his or her creative peak. A critical reader might have questions like “How could this model be tweaked to reflect the contributions of someone like Kool Keith?” Or “Where the fuck is Prodigy?!” But this project is not aiming for a universal lens—instead it’s trying to identify those moments when a rapper’s supremacy becomes unquestionable.

What it does is trace the chain of custody, like a title belt in boxing, of that elusive thing that DMX had in 1998. At times, there is no king or queen of New York—other times two, three, or five people might have credible claims on the title. But tracking this speaks directly to one of rap’s most romantic appeals: the ability to capture, on record and for posterity, the fits of inspiration that once were the ephemeral draws of house parties and park jams.

Grandmaster Caz (1979)

It was Grandmaster Caz who first rapped and DJed simultaneously, practically serving as a one-man transitional phase for the genre as its focal point moved out from behind the decks. While he and the other Cold Crush Brothers were in demand as performers—and the Bronx-bred Caz in particular was widely recognized as one of the premier rappers of the moment, with his metronomic, quickly paced rhymes presaging the more complex internal patterns that rappers like Rakim would later perfect—they were ambivalent about cutting records. So when their manager, Big Bank Hank, passed Caz’s lyrics off as his own on the Sugarhill Gang’s “Rapper’s Delight,” there was as much confusion as outrage about the commercial breakthrough by a group of unknowns. Years later Caz would recall saying, upon hearing the song that cribbed from his notebook: “Who the fuck is they?”

Kurtis Blow (1980)

After studying the proto-rapping of pioneers like DJ Hollywood, Harlem’s Kurtis Blow fused hip-hop’s disco roots with street-level reportage. His deal with Mercury made him the first rapper signed to a major label, and “The Breaks” is recorded rap’s first masterpiece: tragic and comic, its grievances alternatingly petty and gothic.

Melle Mel (1981-82)

On July 13, 1977, New York City went dark. From about 8:30 p.m. through the morning of July 14, virtually the entire city was without electricity. There was naturally a lot of small-time crime under the cover of darkness, some of it vital to hip-hop’s development: Grandmaster Caz claims to have liberated at least one mixing board from an electronics store, with countless other producers and DJs rumored to have done the same. Whatever the hardware situation, it was that post-blackout morning when a Bronx teenager named Melle Mel officially joined forces with an iconic DJ and handful of other young rappers to form Grandmaster Flash and the Furious Five.

In the late ’70s and early ’80s, the group performed constantly and cut a handful of records, including the crucial singles “Superrappin’” and “Freedom.” But in 1982, Melle Mel tweaked the group’s approach—and expanded the possibilities for rap as a vehicle for sociopolitical commentary. “The Message” (and its unnerving documentary video) pays off what “The Breaks” merely suggested. Its view of poverty and social immobility in New York is as panoramic as it is nihilistic: bill collectors terrorizing debtors, dead bodies swinging like pendulums in jail cells. “All the buildings was burnt out,” Melle Mel would later say, recalling the Bronx of his youth. “It looked like a war zone.” “The Message” was an urgent dispatch from the front lines.

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Run (1983-84)

The tracksuits and gold ropes might have come from Jam Master Jay, the punishing bass from Larry Smith, and the more-than-capable counterpoints from DMC. But it was the Hollis, Queens–born Joseph “Run” Simmons who became the fulcrum around which rap pivoted after his group’s 1983 debut. Once a DJ for Kurtis Blow—and, crucially, the younger brother of Russell, who would go on to found Def Jam—Run’s rhyme style was more urgent, more staccato than that of his predecessors. Perhaps more importantly for this project’s purposes, he was the first rapper to make the sucker MCs in his rhymes into abstract, nearly mythic foes rather than some person he might have run into at a club in the Bronx. He made the question “Who is the best rapper alive?” an existential, rather than clerical one. Run-DMC’s commercial peak would come later, with 1986’s Raising Hell, which was produced by Rick Rubin and featured the “Walk this Way” duet with Aerosmith. But by then New York was bending toward younger rappers with ever more intricate styles and slang. It’s the early, swaggering, Larry Smith–produced work that cements Run’s place in the canon.

Roxanne Shante (1984)

If you leaf through history books, you’ll find some royals who bided their time before taking their thrones by force, and others who were thrust into power when they barely into their teen years. Roxanne Shante is both, a preternatural talent who staged a coup when she was just 14. That was the year the Queens native bumped into Marley Marl and the legendary DJ Mr. Magic; together, they hatched a plan to record a response to U.T.F.O.’s “Roxanne, Roxanne.” “Roxanne’s Revenge” not only launched Shante’s career, but sparked the Roxanne Wars, an endless string of response records that smuggled rap’s battle ethos onto wax.

Getty Images/Terry Lott

LL Cool J (1985)

LL Cool J raps like he was dropped in a vat of charisma as a child. Just as importantly, he spent his formative years in Queens studying early hip-hop, a fixation his family encouraged: His mother scrounged money to buy him a drum machine, and his arsenal of hardware was rounded out by his grandfather, a jazz saxophonist. By the time he was in high school, he was cutting his own demo tapes and lobbing them to record companies; he landed at the newly formed Def Jam, and 1984’s “I Need a Beat” was the second rap single the label ever issued. Radio, released late the following year, made him a superstar.

LL’s debut was produced almost entirely by Rick Rubin, whose beats are confrontationally spare (his credit on the LP’s back cover reads “Reduced by Rick Rubin”). Their monstrous low ends are balanced by LL’s vocals, which brim with personality—the raps are forceful, but their edges are sanded down just a bit when compared to Run’s rawer early work. Radio was merely the first of six platinum albums that LL would release through 1997, and he would continue to be a highly visible rapper and actor into the 2010s. But the commercial breakthrough that his first album represented would spawn rappers who surpassed him, either in terms of sheer celebrity or pointed opposition to it.

KRS-One (1986-87)

In 1985, when LL was finishing his first platinum record and buying his nth gold rope, a teenager named Lawrence “Kris” Parker was scamming his way into a different kind of metal. A resident of the Franklin Avenue Armory Men’s Shelter on 166th St. in the Bronx, Kris would claim phony job interviews to receive free subway tokens from the shelter’s employment program. One social worker, Scott Sterling, sniffed out the grift and confronted Kris; the two got into a shouting match so heated they had to be separated by building security. Weeks later, the two had become inseparable—as KRS-One and DJ Scott La Rock, the founding members of Boogie Down Productions.

BDP cut some demos; early listeners, including Mr. Magic, were indifferent. So when Magic’s Juice Crew compatriot, MC Shan, released a single called “The Bridge,” KRS was all too eager to fire back, even if doing so required a willful misunderstanding of the song’s lyrics. Shan has always claimed that the story, in “The Bridge,” of “how it all got started way back when” is merely him telling the story of how rap in Queensbridge began, rather than making the claim that hip-hop began in Queensbridge. But KRS’s responses—“South Bronx” and especially “The Bridge Is Over”—vaulted him to the top of New York; his careening vocals, which flaunted his Jamaican roots, boomed across the boroughs.

KRS would go on to cement himself as one of the greatest rappers ever, with an extensive catalog and unshakable, if sometimes rigid perspective, but Scott La Rock would tragically not live to see this. In 1987, just a few months after the release of BDP’s staggering debut, Criminal Minded, he was killed after trying to mediate a feud between the other BDP member, D-Nice, and a pair of men. He was 25.

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Rakim (1987)

There is studied cool and then the kind that can’t be taught; Rakim excelled in both categories. A naturally charming high school quarterback on his native Long Island, Ra would also pore over the dictionary and pages of notebook paper, which he divided into grids so that the syllables in his raps would land just so. Though hungry for opportunity, he would not pander to an audience, no matter how distinguished it was: When he got a chance, as a high schooler, to record in the already legendary Marley Marl’s home studio, he sat on a couch to lay his vocals, refusing Marley’s urges to rap more animatedly—advice that was echoed by the similarly revered MC Shan, who dropped by the session and was similarly ignored. That unshakable poise preserved a truly distinctive voice. Paid in Fullis the greatest rap album of the ’80s. Ra’s cutthroat perspective, Five Percenter teachings, and—most importantly—his intricate internal rhymes mutated the form forever.

Slick Rick (1988)

By 1988, Slick Rick was already something of a legend. “La Di Da Di” had been a hit for two summers: It was on tapes and mix shows in ’85 and on radio in ’86. That single earned him a reputation as hip-hop’s first great longform storyteller; you wouldn’t have to look hard to find people who claim that his first LP, The Great Adventures of Slick Rick, is still the apex of narrative writing in the genre.

Rick’s own life story reads like a parable. Born in London, blinded in one eye by broken glass as a baby, and ferried to the Bronx just as rap was beginning. He absorbed the culture but retained that lilting accent; he covered the eye first with a utilitarian patch, then ones that were studded with diamonds. Later there would be two stints in prison and marathon battles with immigration services. But at his sharpest, Rick was as inimitable a writer as he was a vocalist, his tales as uproariously funny as they could be unbelievably grave. See “Children’s Story,” which is at turns sarcastic and shockingly violent, a tidy little bedtime tale that ends with the police murdering a 17-year-old. Rick raps: “I still hear him scream.” Then he tucks the kids in.

Chuck D (1989-90)

Where many of rap’s early stars were shockingly young—LL and Rakim got their starts in high school, Run-DMC broke through when that pair had just started university—Long Island’s Chuck D was a college graduate and veteran DJ before Rick Rubin came across one of his demos and lured him to the then-upstart Def Jam, and he was about to turn 27 when Public Enemy’s debut, 1987’s Yo! Bum Rush the Show,was released. Though authoritative and frequently engaging, that album might have seemed an immediate relic—Chuck’s political discontent rendered in cadences that were rapidly becoming obsolete over early Bomb Squad beats that skewed too often toward the circa-’85 Def Jam style that Radio typified.

It was Public Enemy’s sophomore record, 1988’s It Takes a Nation of Millions to Hold Us Back, that transformed the group into one of the most vital the genre would ever see, and Chuck into one of its most inimitable voices. While the beats grew stranger and more serrated, Chuck sharpened his writing, taking vicious swings at the press, the lawyers, and the feds. (That final group was the target of the finest Public Enemy song, “Black Steel in the Hour of Chaos,” which opens, unforgettably: “I got a letter from the government the other day / I opened and read it, it said they were suckers.”) Backlash to the group’s political affiliations rattled Chuck only momentarily; PE returned the following year with “Fight the Power,” which soundtracked Spike Lee’s Do the Right Thing and distilled his mission statement into a single song.

On 1990’s Fear of a Black Planet, The Bomb Squad’s ravenous sampling became cacophonous in the best way—a way that would become legally impossible in the years to come—and Chuck’s command of his cannonlike baritone only deepened. (So did his interplay with the other PE members; look no further than the way he and Flavor Flav play their vocal tones off one another’s on the opening line of “Fight the Power.”) As a songwriter, Chuck showed how to explore each nook and crevice of his psyche without conceding to a political or aesthetic middle. He did not compromise—he doubled down.

Rakim (1991)

While Rakim’s first two albums vindicate his choice, made on Marley’s Marl’s couch, to preserve the placid voice Marley tried to turn more aggressive, 1990’s Let the Rhythm Hit ‘Em belatedly allows some of that agitation to seep in. Rakim’s deeper vocal tone on Rhythm, ’92’s “Know the Ledge,” and the same year’s Don’t Sweat the Technique implies a fury that only he could harness so effectively and use to reclaim the throne he’d relinquished.

Al Pereira/Getty Images/Michael Ochs Archives

Kool G Rap (1992)

From “The Breaks” on, the crime rendered in rap music has been treated as literal truth—by white critics unwilling to grant creative license to Black artists, by cops trying to pin charges on rappers, and by voyeuristic fans. Kool G Rap challenged this by writing harrowing crime tales that played like pulp novels or mob pictures, the violence heightened and stylized, the stakes dizzying but ready to reset when the tape turned over. The mafioso bent to New York rap in the mid-’90s—everything from Only Built 4 Cuban Linx…to It Was Written, from the suits Jay wore on his album covers to Big taking his nickname from King of New York—can be traced directly to the Queens native. But G Rap is more than just a blueprint. The Juice Crew linchpin was also one of the great technical innovators of his era, his cadences so pliable they would sound fresh if heard for the first time today. With 1992’s Live and Let Die, his third album with DJ Polo, G Rap cemented himself as one of the great American crime writers in any medium.

Q-Tip (1993)

As the 1980s gave way to the ’90s, the Native Tongues movement spearheaded by A Tribe Called Quest, De La Soul, and the Jungle Brothers was fast becoming one of the most significant aesthetic and ideological forces in rap. Tribe’s second album, The Low End Theory, was particularly foundational, stripping away layer after layer from each song’s mix until little remained beyond bass and the Queens native Q-Tip’s slightly biting wit. Their follow-up, Midnight Marauders, was released toward the end of 1993, by which point the Native Tongues were losing collective steam (that was the year a De La song famously stated “That Native shit is dead”). But Marauders confirmed Tribe as stars big enough as to be undeterred by that sand-shifting, and Q-Tip as the buoyant, increasingly provocative engine behind them, an MC and producer with few peers, the purest representation of rap’s connection, in sound and spirit, to jazz.

Nas (1994)

Illmaticwas not a surprise. Nasir Jones was a prodigy—raised in the Queensbridge Houses and bitter, even as a 13-year-old, that the Juice Crew didn’t recruit him for the Bridge Wars. His verse on Main Source’s “Live at the Barbecue,” released when he was still 17, made him a commodity; the following year, in 1992, he signed to Columbia, dropped the “Nasty” from his stage name, and got to work on that debut album, which would be rushed to avoid bootlegging and immediately dubbed a classic by The Source. And still, the fervor barely captures the achievement. Over a collection of beats by the most in-demand producers in New York—Q-Tip and Pete Rock, DJ Premier and Large Professor—Nas deepened the grooves that Rakim had first scratched, his labyrinthine verses full of hairpin turns and internal rhymes so complex as to be mathematical. The technique dazzled, but was ultimately beside the point. What elevates Illmatic above even those rare albums that match its precision is the depth of feeling Nas brings to his early childhood memories of Queens, the hints of performance in his nominally reassuring letters to a friend behind bars, the kind of premature weariness only a precocious 20-year-old can channel on his birthday. Just months before, Enter the Wu-Tang (36 Chambers)had offered a tantalizing new paradigm for how rap songs could sound. Illmatic did something different: It looped back around to rap’s beginnings—Nas’s transparent baby face on its cover, clips from Wild Style in its intro—and recoded the DNA that mapped the genre’s most basic elements.

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The Notorious B.I.G. (1995-97)

There is no evidence of Christopher Wallace being less than a genius. The few early, amateur recordings that survive betray superhuman timing and a fearsome intelligence; Big was the most observant person in the room and also the funniest, his words tumbling out in perfect time. When the studio sessions for his first album were halted because the guy who signed him got fired from the label, Big shrugged, then moved down to Raleigh so he could sell drugs and keep eating. When he came back to New York the following year, not only had his skills not atrophied—his voice had grown richer and smoother, his natural charisma translating even more clearly than before. Oh, and he didn’t need to write the rhymes on paper anymore. He simply remembered them.

At this point even the most arcane bits of trivia are widely known. (There are a lot of murals.) But the cottage industry actually undersells Big’s sheer brilliance—the breathtaking detail of his story raps, his disarming willingness to say truly ugly things on record, the way that ugliness burnished his myth while undercutting the very notion of rappers as heroes. Ready to Die is like a brilliant short story collection, each song finding a novel way into its narrative action, each character distinct. Not even Rae and Ghost’s disapproval could make a meaningful dent. Its follow-up, the double-disc Life After Death, is a two-hour heat check, proof that Big had mastered every style of popular rap before the age of 25.

In his too-brief life, Big was not only the best and most popular rapper in New York, but the one who made that crown seem crucial. See “Kick in the Door,” the swaggering DJ Premier production from Life After Death’s first disc, a cryptic diss so beloved that Nas would later boast he was one of its targets. On that song, Big mocks the rappers who “took home Ready to Die, listened, studied shit” and those who were “still recouping,” perhaps a reference to Nas, who was rumored to have rented clothes for the 1995 Source Awards. Whatever his intentions, “Kick in the Door” made one thing clear: The mantle was Big’s, and anyone seeking it had better up his game dramatically.

Vacancy (1997)

On March 9, 1997, Christopher Wallace was shot and killed at the corner of Fairfax Avenue and Wilshire Boulevard in Los Angeles. He was 24 years old. The case remains unsolved.

The absence left by the tragedy is not the same as the creative ebbs and flows documented throughout this exercise; Big left a void that would not immediately be filled. This is not to say there were not significant records coming out of New York. Mase’s Harlem Worldand Puff’s No Way Outkept Bad Boy briefly in the limelight; Busta Rhymes was becoming a genuine solo star after splitting from Leaders of the New School; on a smaller scale, the release of Company Flow’s Funcrusher Plus presaged the Def Jux takeover that would happen in the first half of the next decade. But the summer belonged to Wu-Tang. From November of ’93 on, the group from Staten Island had rap in something just short of a chokehold: Not only was 36 Chambers a landmark achievement, but at least three of the five solo albums released in that span could be considered masterpieces. Their second group effort, Wu-Tang Forever, was maximalist in every sense, a sprawling double disc that features some of the members’ sharpest, most idiosyncratic writing—and likely confirms Ghostface Killah as the best rapper in New York at a moment when there couldn’t be one, at least in spirit.

DMX (1998)

It is strange to consider that there was time before DMX. His 1998, which saw the release of a debut album, It’s Dark and Hell Is Hot, and its follow-up—Flesh of My Flesh, Blood of My Blood, coaxed out of him by Def Jam, which offered a million-dollar bonus if he could cut another album in 30 days—was practically apocalyptic. Raised way up in Yonkers, Earl Simmons honed his jagged voice and accumulated three lifetimes’ worth of stories and spiritual angst before unleashing them in what came to seem like a single, unbroken outburst. Few artists in any genre have had such an unquestionable stranglehold over their fields at a given time. What makes X’s music resonant to this day is his ability to lurch from an urgent, all-id present tense to moments of tortured self-inventory. He would plead with God and snarl at his enemies; sometimes he caught himself mistaking the two.

Mitchell Gerber/Corbis/VCG via Getty Images

Jay-Z (1999-01)

After Big’s death, Jay-Z made an explicit move for the throne. In My Lifetime, Vol. 1, released less than eight months after the assassination, taps Puff and the Hitmen for production duties and features a number of crossover attempts, including one called “The City Is Mine.” It sold significantly better than 1996’s Reasonable Doubt, but did not quite make him a superstar; he would cross that threshold in ’98, with Vol. 2... Hard Knock Lifeand its quartet of massive singles. But ’98 belonged to DMX. It wasn’t until the following year, when Jay stabbed Un Rivera dropped his third album, Vol. 3… Life and Times of S. Carter, that he could credibly claim New York as his own.

Born in Brooklyn and raised in the Marcy Houses, Jay apprenticed under Jaz-O, who was known as one of that borough’s best unsigned rappers until he landed with EMI and allowed that label to torch his image—with a video that featured his young apprentice. Jay took what he learned from Jaz (the cautionary business tales, the hypertechnical fast-rapping that he would perfect, then slow down into something more wieldy) and reassessed. By the time Vol. 3 was released to huge fanfare—it went triple-platinum in 14 months despite rampant bootlegging—Jay was simultaneously the center of the pop-rap universe and one of the genre’s most daring stylists. This sort of dual-track focus allowed him to hold the crown while he transformed his image: Vol. 3 gave way to 2000’s The Dynasty: Roc La Familia and then to The Blueprint, on which Jay sank deep into midtempo raps over warmly rendered soul samples and successfully cemented his legacy among establishment critics.

From its inception, rap had evolved at a breakneck place; those at its center one day might seem obsolete the next. But Jay-Z released albums as if by metronome, one every year, and grew steadily bigger. He was ruthless in boardrooms and had an omnivorous ear that let him subsume bubbling styles into his own. Jay famously wore a Che Guevara shirt when he taped MTV’s Unpluggedon November 18, 2001, but at that moment he seemed more like Castro: inevitable and here indefinitely.

Nas (2001-02)

While Jay was making his way to the top of the food chain, Nas was watching his reputation erode. His excellent second album, It Was Written, was the subject of considerable debate among fans and critics when it came out, some balking at its occasional commercial sheen. A planned third album was decimated by leaks, and each of two LPs he released in 1999 was met with mixed reviews. On The Blueprint, Jay attempted to put Nas out of his supposed misery with “Takeover,” a diss song that poked at Nas’s diminishing credibility and implied a relationship with the mother of Nas’s child. It did not seem to leave a lot of room for spin.

But five days after Jay taped Unplugged, his reign came to an abrupt end. “Ether,” Nas’s scorched-earth response to “Takeover,” was so powerful that it tipped the balance of power back in his favor almost instantly, paving the way for his triumphant, five-mic comeback album, Stillmatic. There is a reasonable case to be made that, in hindsight, “Takeover” is both a better song and more surgical diss than “Ether.” But to hand the fight to Jay is to ignore every shred of context. If the King of New York title is like a boxing belt, and each individual feud its own match, then that sport’s rules apply: It doesn’t matter who’s ahead on the cards when someone lands a knockout blow.

Tim Mosenfelder/Getty Images

50 Cent (2003-04)

All the way back when 50 Cent was “Fifty Cent,” Jam Master Jay was running the Queens native through a very specific type of boot camp. The Run-DMC legend, who signed the rapper to a production deal after a chance meeting outside a Manhattan club, would invite 50 to the studio, put on a beat, and make him write a hook—then another, and another after that. It’s the type of rote work that would likely frustrate a young artist; it’s also the type of experience that would come in handy if that young artist was one day left for dead and expected to claw his way back if he expected anything at all.

The story of 50’s ill-fated Columbia deal, near-assassination, and long recovery is, by this point, well known. Even someone unfamiliar with the details would recognize the aftermath: the bulletproof vests as couture, the lisp caused by shrapnel left in his tongue. When the industry was convinced 50 was too toxic to touch, he forced the issue, recording a deluge of bewilderingly charismatic mixtape songs, the funniest and most menacing in rap at that moment. What followed—the deal with Interscope, the XXL cover with Eminem and Dr. Dre, the debut album that was as hyped as any since Doggystyle—was a well-deserved coronation.

By the time Get Rich or Die Tryin’was out, 50 was teasing the G-Unit album, Beg for Mercy; when that dropped, he was already giving interviews about his sophomore set, originally called St. Valentine’s Day Massacre. It would later be revealed that during this period he was also writing songs for the Game, whose own debut, The Documentary, was a priority for Interscope. By the end of that run, 50 had simply burned out. But at that point, he was so massive that his faltering—he lost a first-week sales showdown in the fall of 2007 to Kanye West—was cast as a signal that all of gangsta rap was obsolete. There has not been a superstar like 50 since 50, and the economics of the record industry are such that there likely never will be again. Drake, whose breakthrough at the end of the 2000s marked the beginning of a new era, is bigger by any measure, but his continued supremacy is the product of careful calibration: His syntax is constantly updated to flow with the prevailing winds, as is his Rolodex. In 2002, 50 made himself inevitable through brute force, a villain to his core.

Cam’ron (2005)

You could argue that Cam’ron’s creative or cultural apex came earlier—in that post-9/11 fugue when Dipset was gleefully referring to itself as “Harlem’s Al-Qaeda”; on 2002’s Come Home With Me, which featured his first major hits; on 2000’s SDE, simply because he said “I ain’t no rapper, B, I skeet Uzis / And I can’t act—turned down three movies”; or all the way back in high school, when he was allegedly outplaying Stephon Marbury in high school ball. But you seize the opportunity when it’s presented. With Jay-Z’s retirement and 50’s burnout rapidly becoming apparent, Cam struck at the very end of 2004 with Purple Haze, a delirious, overly long album that contains some of his most gleefully eccentric writing, some of his most poignant work, and songs that would go on to spawn entire subgenres of rap years later (map “Get ‘Em Girls” onto the maximalist circa-2010 Lex Luger beats that would define the decade to come). Few rappers from New York—or anywhere—have had the gift for language that Cam does, or the will and wit to bend it into such Daliesque shapes. One of the two great disses of 50 didn’t hurt, either.

Johnny Nunez/WireImage

Ghostface Killah (2006)

By 2006, Ghostface had already released two of the greatest rap records ever by a solo artist, arguably stolen a third, taken his group’s sprawling second album on all scorecards, and rattled off so many other staggering verses that some could disappear into the file-sharing abyss without causing him to pause or falter. And still, Fishscale seemed like a rebirth, a mid-career Supporting Actor Oscar that keeps the offers rolling in. At a time when rappers and fans were wringing their hands over hip-hop’s future (and New York’s place in it), Ghost returned to his careening, Joycean crime stories, burglars’ stomachs growling as they smell onions grilling below their break-ins. Speaking of Oscars, his second LP of the year, More Fish, features one of the most charmingly outlandish tales in Ghost’s repertoire, a song about how his original script for a Ray Charles biopic—and idea to cast Jamie Foxx in the starring role—were stolen during a meeting at a P.F. Chang’s.

Max B (2007-08)

A half-decade after 50 Cent made a mockery of the A&R process by littering mixtapes with pop hooks catchier than the current Top 40, and just as Lil Wayne was turning the beats for radio hits into canvases for virtuosic freestyles, the Harlem-bred Max B blurred every meaningful line that remained: the ones between harmony and monotone, the avant garde and the middle, man and myth. Despite spending only five years of his adult life free from prison or jail, Biggaveli has an extensive catalog, the best of which was released between January 2007, when he was bailed out of jail, and June 2009, when he was found guilty on murder conspiracy and robbery charges and sentenced to 75 years in prison. (That sentence was shortened by a 2016 plea deal. Many reports suggest a 2021 release date, though at press time Max B remains incarcerated.) His work is comical but full of dread, muddy but with a distinct musicality, and his tapes from this era are DatPiff classics that could just as easily have been best sellers.

Vacancy (2009)

By the end of the 2000s, New York rap seemed to be in disarray. The traditional CD sales model had crumbled, throwing the label system into chaos; years of fretting about ringtones, snap music, crunk, and the South generally had reached deafening levels. But 2009 did see three major albums by three New York veterans, each remarkable in its own way: MF DOOM’s final studio album, the gruff, muscular Born Like This; Raekwon’s Only Built 4 Cuban Linx… Pt. II, which smartly splits the difference between nostalgia and the cutting edge; and The Ecstatic, which is secretly Mos Def’s best solo LP. Those last two albums reach back even further, making superb use of Slick Rick—on OB4CL2’s cheeky “We Will Rob You” and The Ecstatic’s “Auditorium,” which is built around one of the finest verses of The Ruler’s career.

Roc Marciano (2010)

Roc Marciano is like if the Velvet Underground only wore mink: Seemingly everyone who heard the self-produced solo work he started issuing in 2010 launched his or her own underground rap projet, and his influence—the minimal, sometimes drumless beats, the cartoon luxury enjambed against horrific naturalism—is widespread in mainstream and underground rap today. Starting with his seminal Marcberg, the Long Island native stripped any sound or narrative structure he found excessive from his songs, while reveling, among what remained, in excess itself. He raps like a Bond villain whose origin story is simply “Koch-era New York City.”

Christie Goodwin/Redferns via Getty Images

A$AP Rocky (2011-12)

While a new underground was taking shape, the early 2010s were a more uneven time for the pop-rap side of New York. There were entrancing one-offs—“212” is almost enough to single-handedly win the crown for Azealia Banks—but few obvious heirs until Halloween 2011, when A$AP Rocky uploaded his breakthrough mixtape, Live.Love.A$AP. The Harlem native’s $3 million deal with RCA had made him the subject of considerable speculation, but it was the tape itself that signaled the arrival of a major player. Masterminded by A$AP Yams, the enterprising Dipset-intern-turned-Tumblr genius, Rocky’s style was a web of interconnected influences: Memphis and Houston, high fashion and street sensibility, flourishes from late-2000s indie music and his birth name, Rakim. Rocky has gone on to be a reliable chart-topper and fixture on the festival circuit; it was at his career’s very beginning when he held his hometown in a vise grip.

French Montana (2013)

Karim Kharbouch grew up outside of Casablanca. He became French Montana only after his family moved to the Bronx, where he immersed himself in New York rap culture by producing with a friend a series of DVDs called Cocaine City, Smack knockoffs that became very popular among the sort of people who buy Smack knockoffs. An early alliance with Max B made him a semi-compelling also-ran; circumstance and just enough charm made him, for a brief moment in the early 2010s, the most inescapable New York rapper. The title of his album from 2021, They Got Amnesia, is appropriate: Anyone who denies his ubiquity circa 2013 is only lying to themselves.

Bobby Shmurda (2014)

It’s been well documented that Bobby Shmurda’s story is a microcosm for the way rap music is used by police and federal agencies as a pretext for harassing or jailing Black people. But the Brooklyn rapper’s breakthrough single, “Hot N****,” is also emblematic of what makes New York hip-hop so regenerative and exciting: Here is a completely unknown teenager who, in three minutes and without the aid of a chorus, not only made himself a star, but made it seem for a second like the city, the world orbited around him and his friends. “Hot N****” takes its beat from a Lloyd Banks song released two years prior. That Banks song was inconsequential, which is not to say it was thrown together thoughtlessly. “The sound of the crow [in the beat] was because I loved those gothic horror movies,” its producer, Jahlil Beats, said recently, “but it was also to symbolize that death is always stalking Black people in America. It can strike at any moment.”

Kevork Djansezian/Getty Images

Nicki Minaj (2015)

It is very easy to imagine a course of history in which Nicki Minaj is associated with cities other than her hometown. The Trinidadian rapper, who grew up in Queens, was introduced to many on Lil Wayne’s 2007 mixtape Da Drought 3; her own breakthrough record, 2009’s Beam Me Up Scotty, was recorded mostly in Atlanta, where she became closely associated with Gucci Mane, the greatest talent scout of his generation. But a half-decade after Scotty, Nicki had stepped out of all those shadows. She was cutthroat but wildly animated, with pop hits and menacing mixtape cuts dropping simultaneously. Her album from 2014, The Pinkprint, was a blockbuster, merging her Billboard instincts with her most outre, experimental tics.

Ka (2016)

After trying and failing to break into the industry in the ’90s as a member of the group Natural Elements, Ka retreated for years, returning in the 2010s as one of hip-hop’s great auteurs. His formally inventive, chillingly cryptic records, which are not only self-produced but packaged and shipped by hand, made waves to the point that he was the target of a 2016 front-page hit piece in the New York Post. In the ecosystem of underground rappers who have scavenged for old styles to repurpose in radical new ways, Ka is the apex predator. Honor Killed the Samurai, his album from the same year as the Post piece, is a master class in economy, not an inessential hi-hat or preposition to be found. While he seldom writes long, linear narratives, he is not dealing in the quick quips of early 50 Cent or in Ghostface’s psychedelic free association. Ka writes instead in short thoughts that often turn to aphorism, as if every bar is something a wise uncle often repeated. But there is little comfort to be gleaned from the advice. Dread suffuses his work, as if he’s frozen in the last few seconds before a horror movie’s first kill.

Stephane Cardinale - Corbis/Corbis via Getty Images

Cardi B (2017-18)

It is tempting to see transfers of power as paradigm shifts in terms of how music will be discovered and distributed in the future—to say that 50’s mixtape run marked a new era of artist agency, or that Max B’s signaled the end of albums as a format all together. Cardi B’s rise dispels that notion. Despite entering the public consciousness through Instagram and reality TV appearances, Cardi’s music—her breakthrough mixtapes and debut album, 2018’s Invasion of Privacy—quickly allowed her to take over terrestrial radio, making her a monocultural figure in a time that was thought to be incapable of producing any more.

Pop Smoke (2019)

Though drill, with its roots in dance music’s complex drum programming, was a uniquely Chicagoan invention, its Brooklyn permutation runs neck and neck with Ka and Roc Marci’s sneering minimalism as the most compelling subgenre in 2010s New York—and its breakout figure, Pop Smoke, quickly became the city’s most obvious new star in some time. From his debut single, “Welcome to the Party,” the Canarsie native’s voice was unmistakable, a mix of 50 Cent’s husky baritone and Max B’s playful atonality. His first mixtape, 2019’s Meet the Woo, was produced almost entirely by 808Melo, an East Londoner whom Pop Smoke found online and flew out to New York. The unlikely pairing yielded an instant classic. Pop Smoke became so beloved in the city that by the summer of last year, the seemingly apolitical “Dior” came to soundtrack protests against police violence.

But he did not live to witness this repurposing of his single. On February 19, 2020, Pop Smoke was murdered during a home invasion in Los Angeles. He was only 20 years old.

Vacancy (2020-Present)

As was the case after Big’s murder, Pop Smoke’s death leaves a vacuum. Brooklyn drill is still mutating—it’s now spread to the Bronx—and the post–Earl Sweatshirt sound typified by rappers like MIKE and Navy Blue is thriving. But the latter scene seems uninterested in the type of celebrity we’re noting here; none of Pop’s drill contemporaries, like Sleepy Hallow or Sheff G, have quite been able to seize the mantle, and while Fivio Foreign was this summer’s buzziest rapper based on his Donda appearance, he’s a ways off from being fitted for the crown. Wiki, once an irreverent upstart as the frontman of Ratking, is now a reliable veteran who excels in the sort of autobiographical writing that is quickly canonized. Ka and Roc Marciano are still refining their visions in careful increments; the Griselda crew is having a moment, though they hail from Buffalo and seem to be making a knowing play for nostalgia. For the moment: a void.

The king or queen of New York as a concept will never be as tantalizing as it was during Big’s reign, and could never be enjoyed with the same unqualified fun after his death. It also seemed to hold less prestige as the 2000s wore on and New York was deemphasized in national rap conversations. But at the beginning of the 2020s, hip-hop is in a fascinating place: While the internet allows for rapid exchange of ideas and aesthetics, the genre is in some ways as regionally siloed as ever, with distinct stylistic movements in Michigan, Baton Rouge, Los Angeles, and exurban Florida to name just a few. Pop Smoke’s run was a reminder that New York is as likely as any city to produce the genre’s next great driver or interpreter of sound—and that, when a new star does come from New York, he or she can bend the entire genre into their orbit.

Источник: https://www.theringer.com/2021/11/22/22795285/best-rapper-new-york-kings-queens-dmx-notorious-big-nas-jay-z

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Underground female rappers 2021


underground female rappers 2021 May 18, 2021 · The kingpin of underground rap, Aesop Rock clocked at 7,879 unique words used – more than 3,000 more than the average cluster of rappers, who hover between 3,000 and 4,500 unique words. From Tierra Whack to Saweetie, here are 12 women in hip-hop you should Jul 24, 2021 · May 25, 2021. Feb 02, 2021 · Let’s look at some great rap quotes and rap lyrics about life, love, and success. Tony M. ^ "Lil Durk's brother, rapper OTF DThang, fatally shot outside Harvey nightclub". 3. We also have a selection of Chance the Rapper lyrics and funny Cardi B quotes to check out as well. Latruth has 11 albums under Aug 23, 2021 · He had worked with Block B's Zico during their underground days. Nov 28, 2017 · Listen to all of these rappers 30 days for FREE on Amazon Music Unlimited. 2021-10-29. Browse the top female russian rap artists to find new music. 20. Vlogger Irina Smelaya raps under the moniker Tatarka, and is a unique female voice in a scene dominated by men. Rico also shares that as a Black female rapper, it requires a certain toughness to do her job. The only competition to Aesop on the chart is Busdriver, but even he has 5,000 fewer unique words than the Appleseed artist. Tatarka. Step aside, Nicki Minaj and Azealia Banks; while these famous New York-born rappers have made quite a name for themselves, New York City is a hub of creativity, and there is a new class of female rappers trailblazing the music industry. com Oct 13, 2021 · The latest hip-hop and R&B new music, news, photos, interviews, and videos. That said, there are some female rappers slowly making inroads into the previously all-male domain: to find out which ones are making the most headway, check out our list of the 20 richest female rappers of all time. Photo by Alexander Ayala/@alexvisualss. Tyler, the Creator Albums 2021 Update. The glass ceiling may be shattering across the world of business, but it’s still very much intact in the record business. ” 50 Best Rappers of Hip Hop in 2021 This list presents the year’s leading rappers and hip-hop artists. queer underground dance community Posted: (1 week ago) Jul 28, 2021 · Here are the best female rappers of 2021, ranked by fans everywhere. Many people have compiled a list of famous hip-hop sayings that can be used as punch lines in everyday situations. $2. Relatively new to the rap game, Tatarka’s first single, Altyn, was released in 2016 and in her native Tatar language. Jun 16, 2021 · On Wednesday, XXL released the official lineup for its 2021 XXL Freshman Class. This year’s issue marked a Posted: (1 week ago) Jul 28, 2021 · Here are the best female rappers of 2021, ranked by fans everywhere. ghxst's board "$uicideboy$" on Pinterest. Into The Sun. 1 in. Watch videos, view photos more at GRAMMY. www. 5K ⋅ 311. Retrieved June 6, 2021. Oya Baby has the support of rapper Flo Rida. Jun 09, 2021 · Gangsta Boo’s verse in RTJ2’s “Love Again” was hailed as some sort of high watermark for feminism in rap when 15 years earlier DJ Paul helped La Chat twist the 3 6 classic “Slob on my Knob” to “Slob on my Cat. Clash Music

最高の品質のの【 iCoN BASIC 80A 】 8.0cmヒール アーモンドトゥ フォーマル ベーシックパンプス 最新発見最安値の

尖りすぎないアーモンドトゥがポイントの8.0cmヒールパンプス。ポインテッドトゥでは足が痛くなるし、ラウンドトゥでは可愛すぎる…という方におすすめ。普段履きからフォーマル?冠婚葬祭?オフィス通勤?リクルート?就職活動とどんなシーンでも使えるオールマイティな一足です。

フカフカのクッションインソール。まるで分厚い絨毯(じゅうたん)の上を歩くような感覚。

アイコンといえば特徴的なこのクッションインソール。中敷き全体に高密度ウレタンクッションを敷き詰め、中足骨部分と土踏まず部分に高反発クッションを内蔵。フカフカ、フワフワ。 まるで分厚い絨毯の上を歩くような感覚。燃えるように熱くなってジンジン痛くなる足の裏に、このクッションインソールのお陰で痛みが激減します。

アッパー裏メッシュ加工。包み込まれる様な履き心地の秘密。

つま先から足のサイドまで、アッパー裏(甲革の裏側)にソフトなメッシュ素材を使用することで、他では味わえない「指あたり」を実現しました。包み込まれる様な履き心地の秘密は、この加工のおかげ。このソフトなフィット感がリピーターを呼ぶポイントです。

ハイヒールなのに小走りできるの?

はい。それが結構できちゃうみたいです。滑り止め加工のラバー底でつるつる滑らないのはもちろん、安定感と軽く小走り出来るようなフィット感なら靴で失敗したくない日に迷わず選んじゃいますよね。

合成(人工)皮革ってどうなの?

手入れが簡単、雨の日も履ける。ケミカルレザーって実はいいところがいっぱい。リアルな質感や、しっとりふんわりとした 手触りは、研究を重ねている繊維メーカーさんの努力の賜物。

外反母趾でもパンプスが履きたい。

アッパー裏メッシュ加工によって、とてもソフトなフィット感を実現。固い裏革を使用したパンプスでは、いつも骨が当たって痛い。軽度の外反母趾であれば、チャンレンジしてみたくなる履き心地です。

溝にハマっても破けない。

靴と同素材の巻ヒールって高級感はあるけど、溝にハマったりひっかけたりするとすぐ破れるのが難点。アイコンはデイリーに履いていただきたいから、靴とマッチするマットな塗りヒールを採用しました。

素材

スムース(人工皮革)※表皮メーカー「キョーレ」と共同開発した人工皮革「MKカーフ」

サイズ展開/ワイズ

21.5cm 22.0cm 22.5cm 23.0cm 23.5cm 24.0cm 24.5cm 25.0cm/ワイズD

ヒールの高さ

8.0cmヒール

つま先の形状/甲のカット

短めのアーモンドトゥ/やや浅めの甲カット

※画像の商品はサンプルです。実際の商品と色味、仕様、加工、サイズ、素材等が若干異なる場合がございます。

■スタッフによるサイズ感(あくまで参考までにお考えください)

【スタッフ:Kさん】

普段のサイズ:22.5cm or 22.0cm/足長:22.0cm/足幅:9.5cm/足囲:21.5cm/ワイズ:C

この靴で選ぶサイズ:22.5cm

感想:ストッキング着用でいつもの22.5cmを選びます。ぴったりとした履き心地で、前すべりもなく快適に着用できました。

【スタッフ:Mさん】

普段のサイズ:23.0cm or 23.5cm/足長:23.5cm/足幅:9.0cm/足囲:21.0cm/ワイズ:B

この靴で選ぶサイズ:23.0cm

感想:ストッキングで着用しました。どこも痛くなるような箇所はなく、ピッタリでとても楽に履けました。

【スタッフ:Aさん】

普段のサイズ:24.5cm or 24.0cm/足長:24.4cm/足幅:10.2cm/足囲:22.3cm/ワイズ:C

この靴で選ぶサイズ:24.5cm

感想:ストッキングで着用しました。普段のサイズ選びで問題ないです。つま先が少しタイトに感じられますが、馴染めばちょうどよくなると思います。それ以外はジャストサイズです。前滑りを避けたいので、少しタイトでもジャストサイズを選んで馴染むのを待ちます。

性別タイプ:
レディース
カテゴリー:
素材:
スムース(合成皮革)
原産国:
日本
即日配送:
即日配送不可
MAMIAN(マミアン)の「【 iCoN BASIC  80A 】8.0cmヒール アーモンドトゥ フォーマル ベーシックパンプス(パンプス)」|ブラック

摩熊科技高性能无线通信产品与无线行业解决方案提供商

摩熊科技

高性能无线通信产品与无线行业解决方案提供商


最高の品質のの【 iCoN BASIC 80A 】 8.0cmヒール アーモンドトゥ フォーマル ベーシックパンプス 最新発見最安値の大型活动现场

无线wifi覆盖租赁服务

Источник: http://gulfcoastbeachhouses.com/vhqwe/new-white-female-rappers-2021.html

Azealia banks mixtape -

There’s quite a lot of buzz surrounding Azealia Banks these days and why shouldn’t there be, considering her catchy debut single “212," which put her on the list of artists to watch.

Banks has just released her new mixtape, Fantasea, a 19-track album with her standard fiery, danceable beats and fast, aggressive, and sometimes indecipherable lyrics. Banks contextualized the mixtape a bit on Twitter:

I originally started this mixtape with the intention of letting go a ton of old ideas... like songs I started writing but never finished.

— ♥ YUNG RAPUNXEL ♥ (@AZEALIABANKS) July 10, 2012

Fantasea is almost kind of a first album of sorts....but it happened by mistake.... It's weird.

— ♥ YUNG RAPUNXEL ♥ (@AZEALIABANKS) July 10, 2012

This is a test run... I tried a lot of cool things... Sounds I thought were progressive, beats made by close friends, different flowsss

— ♥ YUNG RAPUNXEL ♥ (@AZEALIABANKS) July 10, 2012

Fantasea is not the last we will hear of Banks in the coming months -- her debut studio album, Broke With Expensive Taste, is set to drop in September.

To hear what all the hype is about, download the mixtape here via Banks' Twitter account. Peep the full tracklist below:

2012-07-12-AZEALIABANKS.jpg

"Fantasea" Tracklist:

01. Out of Space 02. Neptune feat. Shystie 03. Atlantis 04. Fantasea 05. Fuck Up the Fun 06. Ima Read 07. Fierce 08. Chips 09. Nathan feat. Styles P 10. L8R 11. Jumanji 12. Aquababe 13. Runnin’ 14. US 15. Paradiso 16. Luxury 17. Azealia Skit 18. Esta Noche 19. Salute

Источник: https://www.huffpost.com/entry/azealia-banks-fantasea-mixtape_n_1668168

最高の品質のの【 iCoN BASIC 80A 】 8.0cmヒール アーモンドトゥ フォーマル ベーシックパンプス 最新発見最安値の

尖りすぎないアーモンドトゥがポイントの8.0cmヒールパンプス。ポインテッドトゥでは足が痛くなるし、ラウンドトゥでは可愛すぎる…という方におすすめ。普段履きからフォーマル?冠婚葬祭?オフィス通勤?リクルート?就職活動とどんなシーンでも使えるオールマイティな一足です。

フカフカのクッションインソール。まるで分厚い絨毯(じゅうたん)の上を歩くような感覚。

アイコンといえば特徴的なこのクッションインソール。中敷き全体に高密度ウレタンクッションを敷き詰め、中足骨部分と土踏まず部分に高反発クッションを内蔵。フカフカ、フワフワ。 まるで分厚い絨毯の上を歩くような感覚。燃えるように熱くなってジンジン痛くなる足の裏に、このクッションインソールのお陰で痛みが激減します。

アッパー裏メッシュ加工。包み込まれる様な履き心地の秘密。

つま先から足のサイドまで、アッパー裏(甲革の裏側)にソフトなメッシュ素材を使用することで、他では味わえない「指あたり」を実現しました。包み込まれる様な履き心地の秘密は、この加工のおかげ。このソフトなフィット感がリピーターを呼ぶポイントです。

ハイヒールなのに小走りできるの?

はい。それが結構できちゃうみたいです。滑り止め加工のラバー底でつるつる滑らないのはもちろん、安定感と軽く小走り出来るようなフィット感なら靴で失敗したくない日に迷わず選んじゃいますよね。

合成(人工)皮革ってどうなの?

手入れが簡単、雨の日も履ける。ケミカルレザーって実はいいところがいっぱい。リアルな質感や、しっとりふんわりとした 手触りは、研究を重ねている繊維メーカーさんの努力の賜物。

外反母趾でもパンプスが履きたい。

アッパー裏メッシュ加工によって、とてもソフトなフィット感を実現。固い裏革を使用したパンプスでは、いつも骨が当たって痛い。軽度の外反母趾であれば、チャンレンジしてみたくなる履き心地です。

溝にハマっても破けない。

靴と同素材の巻ヒールって高級感はあるけど、溝にハマったりひっかけたりするとすぐ破れるのが難点。アイコンはデイリーに履いていただきたいから、靴とマッチするマットな塗りヒールを採用しました。

素材

スムース(人工皮革)※表皮メーカー「キョーレ」と共同開発した人工皮革「MKカーフ」

サイズ展開/ワイズ

21.5cm 22.0cm 22.5cm 23.0cm 23.5cm 24.0cm 24.5cm 25.0cm/ワイズD

ヒールの高さ

8.0cmヒール

つま先の形状/甲のカット

短めのアーモンドトゥ/やや浅めの甲カット

※画像の商品はサンプルです。実際の商品と色味、仕様、加工、サイズ、素材等が若干異なる場合がございます。

■スタッフによるサイズ感(あくまで参考までにお考えください)

【スタッフ:Kさん】

普段のサイズ:22.5cm or 22.0cm/足長:22.0cm/足幅:9.5cm/足囲:21.5cm/ワイズ:C

この靴で選ぶサイズ:22.5cm

感想:ストッキング着用でいつもの22.5cmを選びます。ぴったりとした履き心地で、前すべりもなく快適に着用できました。

【スタッフ:Mさん】

普段のサイズ:23.0cm or 23.5cm/足長:23.5cm/足幅:9.0cm/足囲:21.0cm/ワイズ:B

この靴で選ぶサイズ:23.0cm

感想:ストッキングで着用しました。どこも痛くなるような箇所はなく、ピッタリでとても楽に履けました。

【スタッフ:Aさん】

普段のサイズ:24.5cm or 24.0cm/足長:24.4cm/足幅:10.2cm/足囲:22.3cm/ワイズ:C

この靴で選ぶサイズ:24.5cm

感想:ストッキングで着用しました。普段のサイズ選びで問題ないです。つま先が少しタイトに感じられますが、馴染めばちょうどよくなると思います。それ以外はジャストサイズです。前滑りを避けたいので、少しタイトでもジャストサイズを選んで馴染むのを待ちます。

性別タイプ:
レディース
カテゴリー:
素材:
スムース(合成皮革)
原産国:
日本
即日配送:
即日配送不可
MAMIAN(マミアン)の「【 iCoN BASIC  80A 】8.0cmヒール アーモンドトゥ フォーマル ベーシックパンプス(パンプス)」|ブラック

摩熊科技高性能无线通信产品与无线行业解决方案提供商

摩熊科技

高性能无线通信产品与无线行业解决方案提供商


最高の品質のの【 iCoN BASIC 80A 】 8.0cmヒール アーモンドトゥ フォーマル ベーシックパンプス 最新発見最安値の大型活动现场

无线wifi覆盖租赁服务

Источник: http://gulfcoastbeachhouses.com/vhqwe/new-white-female-rappers-2021.html

Azealia Banks – Before The Expensive Taste [Mixtape]

Considering we’ll have to wait for Azealia Banks‘s 1991 EP, since she decided to delay while under new management, here is a fan-made compilation of tracks from Azealia entitled Before The Expensive Taste. Artwork is courtesy of … me. Download the entire mixtape below.

Download:Azealia Banks – Before The Expensive Taste

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Terrell Johnson

Terrell Johnson is the Editor-in-Chief and Founder of SWGRUS.

Terrell JohnsonИсточник: https://swaggerareus.com/azealia-banks-before-the-expensive-taste-mixtape/

Fantasea

I cash it for life fantastic
Less they gonna go , basket next to go
I'm a hundred in a book like x and o
Feel better than X and blow
Get half of my lines start texting notes
Get these niggers gazed up like texico
Watch a bitch probably texaco
Ever since I was a embrio had magic flow
Young dynamo, young killer,
Young ellen with a finer flow
Young rapid bow and the will of a half a cold
Can you celebrate it have a truce
Young sister please you're dope

(x4)
I'm feeling fantasea

That's for the half of life,
No wrong the cash was right
The bitch bent twice like hasn't like
Want a great way to pass advice
Now I'm living for arsenal
Bring a fever like Fahrenheit
On a world like sanded light
They build that
They be girl by options right
DJ to the BH pass the light
Off from the passive type
I exite your life gaining acid
Better than your average
That is out there,blow the ship
'Til I blow some magic
Anything you want, you can have it
Trip trip trip, you wanna magic
Do you really really wanna ask us
Or the phoenix while you in the ashes
Going into depression,no puller no crashing
Numbers of the masses,one is to the nation
Anything you want, it's estamblished
Anything you want, you can have it

Boy I feel you
As I'm loving you, as I'm loving you
I'm gonna take you in a world ride classy
I'm feeling fantasea
I'm feeling fantasea
I'm feeling fantasea
I'm feeling
I'm feeling fantasea
I'm feeling fantasea
Loving you, loving you
Loving you, loving you

Источник: https://www.letras.com/azealia-banks/fantasea/

Azealia Banks: ‘Fantasea’ player

For someone who has yet to release a proper album, 21-year-old Harlem rapper-singer Azealia Banks has stirred up an impressive amount of trouble over the past year.

Banks blurs the lines between hip-hop, contempo Caribbean club music and electronica, and possesses a genuine Id-driven unpredictability. The self-described “rap Larry David” is set to air even more grievances — and shoot for a real spot in the pop-rap firmament — when her full-length debut drops in early 2013.

A dropout from Gotham’s Fiorello H. LaGuardia High School of Music & Art and Performing Arts, Banks first attracted attention with 2009’s Diplo-produced single “Seventeen.” The resulting buzz was loud enough to get Banks signed to XL Recordings, though she quickly and publicly burned her bridges with the label. She was then scooped up by Interscope just as her relentlessly profane single “212” made her a household name last winter, breaking into the top 20 on the U.K. charts.

Since then, the pugnacious Banks has notched up a jaw-dropping set at Coachella; stirred up teapot Twitter tempests with Iggy Azalea, T.I., Jim Jones and many others; threatened to quit rap; signed with, then abruptly parted ways with, Lady Gaga manager Troy Carter; placed third on the BBC’s Sound of 2012 poll; cut tracks with M.I.A. and Lana Del Rey; and released Interscope EP “1991” to a Billboard Hot 200 berth, followed by mixtape “Fantasea” in July.

Return to the Youth Impact Report 2012 >>

Источник: https://variety.com/2012/music/news/azealia-banks-fantasea-player-1118058865/

Meek Mill plans to release Dream Chaser’s final mixtape, NFT

Rapper Philly Meek Mill plans to release Dream Chaser’s latest mixtape as a non-fungible token (NFT).

Meek announced on his Instagram account on Friday, “How can they relate I’m so real n #% FAKE GAS #DCPOUNDCAKE LAST DREAMCHASER MIXTAPE A NFT… LOYALTY CLUB starts January 1st 2022 you can invest in merchandise albums and shows and marketing,

The post is similar to another one he shared a couple of days ago, in which the 34-year-old wrote on IG, “Loyalty Club begins Jan 1, 2022 NFT mixtape.”

The caption is attached to the clip of the rapper “Dreams and Nightmares” catching a flight, as he surprised attendees at the 2021 REVOLT Summit with a performance before being seen partying at a club with Justin Combs, Johnna, Jadakis, and others.

At one point in the video, text flashes across the screen that says “About to take ownership of the music they make and create.”

It is not clear if Loyalty Club is the title of the upcoming Meek project or if it is the name of the NFT project he is currently working on.

in aIn November, he also shared a photo of himself wearing aJacket with “Loyalty Club” on the back. And in April of this year, Meek expressed his interest in using NFTs to release music in a tweet. “I’m doing an nft album as soon as I make my deals,” he said at the time.

Apparently, Meek’s decision to release a hybrid tape as an NFT will be groundbreaking for both the Meek and NFT/cryptocurrency community.

NFTs are unique pieces of digital content that are tied to the cryptocurrency blockchain and are not interchangeable, which makes it interesting to see how a tape of songs would be shared with others if they were sold to only one owner.

The rapper previously voiced his complaints about his current naming deal in a since-deleted tweet: “I don’t get paid by music and I don’t know how much money labels are making me. I need lawyers ASAP!!!” he tweeted .

His decision to release his mixtape as an NFT may be a new way for Meek to tap into his art like others in the industry, including JAY-Z, The Weeknd, Azealia Banks, Tory Lanez, Eminem, Post Malone, Jeezy and Snoop Dogg.

Источник: https://floridacelebs.com/florida-celebrity-news/meek-mill-plans-to-release-dream-chasers-final-mixtape-nft/

Azealia Banks drops debut EP 1991 and Fantastic mixtape, according to my mom Azealia Banks drops debut EP 1991 and Fantastic mixtape, according to my mom

I was unaware that it was Mother’s Day when I took my mom to The Olive Garden for breakfast, so I really dodged a bullet with that. And I mean a metaphorical bullet of course. Anywho, my slave-driver of a boss at TMT, Mr P a.k.a. “Slave-Driver,” slapped a news story on my desk the same morning about Azealia Banks releasing her debut EP, 1991, on Interscope/Polydor May 29, digitally, and June 12, physically.

I had no fapping clue who Azealia Banks was. Though, I did think of the “Ashley Banks” character from classic 80s sitcom Freshest Prince, and the episode where Carlton Banks becomes her manager. In order to get some deets, as the kids say, I slid over a cloth napkin to my mom at the table, which read in black lipstick, “Who the fuck is Azealia Banks?”

My mom laughed so hard she squirted breakfast wine out of her nose. “You don’t know Azealia Banks? Never heard “212” featuring Lazy Jay?” I shook my head, indicating I had not heard such a Lazy Jay. My mom continued, “She’s all over Pitchfork. Don’t you read Pitchfork?”

After explaining to my mom that I only go to the Pitchfork Media website to play Sudoku puzzles, she patted me on the pants. To help me out she showed me the “212” video on her phone, and told me the her full-length album, Broke with Expensive Taste, will be out this fall. Thanks, Mom!

***UPDATE***

I turned in this article at the buttcrack of night, and then I got a page from “Slave-Driver” that Azealia Banks is releasing a mixtape. From a payphone I called him, and he said things like, “Don’t screw this up,” and, “There’s a lot of money riding on this.” Regardless, Banks announced via Twitter that her mixtape, Fantastic, will drop July 4. Too-da-loo.

• Azealia Banks: http://azealiabanks.com
• Interscope: http://www.interscope.com

More about: Azealia Banks

Источник: https://www.tinymixtapes.com/news/azealia-banks-drops-debut-ep-1991-and-fantastic-mixtape-according-my-mom
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Jun 10, 2021 · The rapper's death was originally shared by Digital Underground co-founder Chopmaster J. feat Gang Gang Polo G Calling My Phone Lil Tjay, Travis Scott, Doja Cat, Lil Nas X, 24KGoldn, Young Thug, G-Eazy, Future, Drake, Post Malone, Dj Khaled, Lil Xan, Kendick Lamar, 21 Savage, XXXTENTACION. Posted: (1 week ago) Jul 28, 2021 · Here are the best female rappers of 2021, ranked by fans everywhere. The artist was 57. We hope you f droid android only get your Trap Music Jul 19, 2021 · Home CELEBRITIES Doja Cat Calls Best bank cd rates in chicago area Nick Cannon For Bad Interview Screenshot 2021-07-19 at 20-36-17 Doja Cat Speaks On Misogynistic Views Of Female Rappers How She Handled Being Culturally […] 6. underground female rappers 2021

Источник: http://bauerfranz.pyrokar.lima-city.de/3oipq/underground-female-rappers-2021.html

Azealia Banks drops debut EP 1991 and Fantastic mixtape, according to my mom Azealia Banks drops debut EP 1991 and Fantastic mixtape, according to my mom

I was unaware that it was Mother’s Day when I took my mom to The Azealia banks mixtape Garden for breakfast, so I really dodged a bullet with that. And I mean a metaphorical bullet of course. Anywho, my slave-driver of a boss at TMT, Mr P a.k.a. “Slave-Driver,” slapped a news story on my desk the same morning about Azealia Banks releasing her debut EP, 1991, on Interscope/Polydor May 29, digitally, and June 12, physically.

I had no fapping clue who Azealia Banks was. Though, I did think of the “Ashley Banks” character from classic 80s sitcom Freshest Prince, and the episode where Carlton Banks becomes her manager. In order to get some deets, as the kids say, I slid over a cloth napkin to my mom at the table, which read in black lipstick, “Who the fuck is Azealia Banks?”

My mom laughed so hard she squirted breakfast wine out of her nose. “You don’t know Azealia Banks? Never heard “212” featuring Lazy Jay?” I shook my head, indicating I had not heard such a Lazy Jay. My mom continued, “She’s all over Pitchfork. Don’t you read Pitchfork?”

After explaining to my mom that I only go to the Pitchfork Media website to play Sudoku puzzles, she patted me on the pants. To help me out she showed me the “212” video on her phone, and told me the her full-length album, Broke with Expensive Taste, will be out this fall. Thanks, Mom!

***UPDATE***

I turned in this article at the buttcrack of night, and then I got a page from “Slave-Driver” that Azealia Banks is releasing a mixtape. From a payphone I called him, and he said things like, “Don’t screw this up,” and, “There’s a lot of money riding on this.” Regardless, Banks announced via Twitter that her mixtape, Fantastic, will drop July 4. Too-da-loo.

• Azealia Banks: http://azealiabanks.com
• Interscope: http://www.interscope.com

More about: Azealia Banks

Источник: https://www.tinymixtapes.com/news/azealia-banks-drops-debut-ep-1991-and-fantastic-mixtape-according-my-mom

最高の品質のの【 iCoN BASIC 80A 】 8.0cmヒール アーモンドトゥ フォーマル ベーシックパンプス 最新発見最安値の

尖りすぎないアーモンドトゥがポイントの8.0cmヒールパンプス。ポインテッドトゥでは足が痛くなるし、ラウンドトゥでは可愛すぎる…という方におすすめ。普段履きからフォーマル?冠婚葬祭?オフィス通勤?リクルート?就職活動とどんなシーンでも使えるオールマイティな一足です。

フカフカのクッションインソール。まるで分厚い絨毯(じゅうたん)の上を歩くような感覚。

アイコンといえば特徴的なこのクッションインソール。中敷き全体に高密度ウレタンクッションを敷き詰め、中足骨部分と土踏まず部分に高反発クッションを内蔵。フカフカ、フワフワ。 まるで分厚い絨毯の上を歩くような感覚。燃えるように熱くなってジンジン痛くなる足の裏に、このクッションインソールのお陰で痛みが激減します。

アッパー裏メッシュ加工。包み込まれる様な履き心地の秘密。

つま先から足のサイドまで、アッパー裏(甲革の裏側)にソフトなメッシュ素材を使用することで、他では味わえない「指あたり」を実現しました。包み込まれる様な履き心地の秘密は、この加工のおかげ。このソフトなフィット感がリピーターを呼ぶポイントです。

ハイヒールなのに小走りできるの?

はい。それが結構できちゃうみたいです。滑り止め加工のラバー底でつるつる滑らないのはもちろん、安定感と軽く小走り出来るようなフィット感なら靴で失敗したくない日に迷わず選んじゃいますよね。

合成(人工)皮革ってどうなの?

手入れが簡単、雨の日も履ける。ケミカルレザーって実はいいところがいっぱい。リアルな質感や、しっとりふんわりとした 手触りは、研究を重ねている繊維メーカーさんの努力の賜物。

外反母趾でもパンプスが履きたい。

アッパー裏メッシュ加工によって、とてもソフトなフィット感を実現。固い裏革を使用したパンプスでは、いつも骨が当たって痛い。軽度の外反母趾であれば、チャンレンジしてみたくなる履き心地です。

溝にハマっても破けない。

靴と同素材の巻ヒールって高級感はあるけど、溝にハマったりひっかけたりするとすぐ破れるのが難点。アイコンはデイリーに履いていただきたいから、靴とマッチするマットな塗りヒールを採用しました。

素材

スムース(人工皮革)※表皮メーカー「キョーレ」と共同開発した人工皮革「MKカーフ」

サイズ展開/ワイズ

21.5cm 22.0cm 22.5cm 23.0cm 23.5cm 24.0cm 24.5cm 25.0cm/ワイズD

ヒールの高さ

8.0cmヒール

つま先の形状/甲のカット

短めのアーモンドトゥ/やや浅めの甲カット

※画像の商品はサンプルです。実際の商品と色味、仕様、加工、サイズ、素材等が若干異なる場合がございます。

■スタッフによるサイズ感(あくまで参考までにお考えください)

【スタッフ:Kさん】

普段のサイズ:22.5cm or 22.0cm/足長:22.0cm/足幅:9.5cm/足囲:21.5cm/ワイズ:C

この靴で選ぶサイズ:22.5cm

感想:ストッキング着用でいつもの22.5cmを選びます。ぴったりとした履き心地で、前すべりもなく快適に着用できました。

【スタッフ:Mさん】

普段のサイズ:23.0cm or 23.5cm/足長:23.5cm/足幅:9.0cm/足囲:21.0cm/ワイズ:B

この靴で選ぶサイズ:23.0cm

感想:ストッキングで着用しました。どこも痛くなるような箇所はなく、ピッタリでとても楽に履けました。

【スタッフ:Aさん】

普段のサイズ:24.5cm or 24.0cm/足長:24.4cm/足幅:10.2cm/足囲:22.3cm/ワイズ:C

この靴で選ぶサイズ:24.5cm

感想:ストッキングで着用しました。普段のサイズ選びで問題ないです。つま先が少しタイトに感じられますが、馴染めばちょうどよくなると思います。それ以外はジャストサイズです。前滑りを避けたいので、少しタイトでもジャストサイズを選んで馴染むのを待ちます。

性別タイプ:
レディース
カテゴリー:
素材:
スムース(合成皮革)
原産国:
日本
即日配送:
即日配送不可
MAMIAN(マミアン)の「【 iCoN BASIC 80A 】8.0cmヒール アーモンドトゥ フォーマル ベーシックパンプス(パンプス)」|ブラック

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Источник: http://gulfcoastbeachhouses.com/vhqwe/new-white-female-rappers-2021.html

Azealia Banks: ‘Fantasea’ player

For someone who has yet azealia banks mixtape release a proper album, 21-year-old Harlem rapper-singer Azealia Banks has stirred up an impressive amount of trouble over the past year.

Banks blurs the lines between hip-hop, contempo Caribbean club music and electronica, and possesses a genuine Id-driven unpredictability. The self-described “rap Larry David” is set to air even more grievances — and shoot for a real spot in the pop-rap firmament — when her full-length debut drops crossroads of the west gun show early 2013.

A dropout from Gotham’s Fiorello H. LaGuardia High School of Music & Art and Performing Arts, Banks first attracted attention with 2009’s Diplo-produced single “Seventeen.” The resulting buzz was loud enough to get Banks signed to XL Recordings, though she quickly and publicly burned her bridges with the label. She was then scooped up by Interscope just as her relentlessly profane single “212” made her a household name last winter, breaking into the top 20 on the U.K. charts.

Since then, the pugnacious Banks has notched up a jaw-dropping set at Coachella; stirred up teapot Twitter tempests with Iggy Azalea, T.I., Jim Jones and many others; threatened to quit rap; signed with, then abruptly parted ways with, Lady Gaga manager Troy Carter; placed third on the BBC’s Sound of 2012 poll; cut tracks with M.I.A. and Lana Del Rey; and released Interscope EP “1991” to a Billboard Hot 200 berth, followed by mixtape “Fantasea” in July.

Return to the Youth Impact Report 2012 >>

Источник: https://variety.com/2012/music/news/azealia-banks-fantasea-player-1118058865/

Meek Mill plans to release Dream Chaser’s final mixtape, NFT

Rapper Philly Meek Mill plans to release Dream Chaser’s latest mixtape as a non-fungible token (NFT).

Meek announced on his Instagram account on Friday, “How can they relate I’m so real n #% FAKE GAS #DCPOUNDCAKE LAST DREAMCHASER MIXTAPE A NFT… LOYALTY CLUB starts January 1st 2022 you can invest in merchandise albums and shows and marketing,

The post is similar to another one he shared a couple of days ago, in which the 34-year-old wrote on IG, “Loyalty Club begins Jan 1, 2022 NFT mixtape.”

The caption is attached to the clip of the rapper “Dreams and Nightmares” catching a flight, as he surprised attendees at the 2021 REVOLT Summit with a performance before being seen partying at a club with Justin Combs, Johnna, Jadakis, and others.

At one point in the video, text flashes across the screen that says “About to take ownership of the music they make and create.”

It is not clear if Loyalty Club is the title of the upcoming Meek project or if it is the name of the NFT project he is currently working on.

in aIn November, he also shared a photo of himself wearing aJacket with “Loyalty Club” on the back. And in April of this year, Meek expressed his interest in using NFTs to release music in a tweet. “I’m doing an nft album as soon as I make my deals,” he said at the time.

Apparently, Meek’s decision to release a hybrid tape as an NFT will be groundbreaking for both the Meek and NFT/cryptocurrency community.

NFTs are unique pieces of digital content that are tied to the cryptocurrency blockchain and are not interchangeable, which makes it interesting to see how a tape of songs would be shared with others if they were sold to only one owner.

The rapper previously voiced his complaints about his current naming deal in a since-deleted tweet: “I don’t get paid by music and I don’t know how much money labels are making me. I need lawyers ASAP!!!” he tweeted.

His decision to release his mixtape as an NFT may be a new way for Meek to tap into his art like others in the industry, including JAY-Z, The Weeknd, Azealia Banks, Tory Lanez, Eminem, Post Malone, Jeezy and Snoop Dogg.

Источник: https://floridacelebs.com/florida-celebrity-news/meek-mill-plans-to-release-dream-chasers-final-mixtape-nft/

You can watch a thematic video

Azealia Banks - YUNG RAPUNXEL PT. II (Mixtape)