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    Death Row Bankruptcy Continues, Judge Sets A Date For Claims
    Tuesday. 9.5.06 8:51 pm
    By Nolan Strong
    Date: 9/5/2006 9:50 am


    A Los Angeles bankruptcy judge has set a deadline for parties to file claims against Death Row Records and Marion "Suge" Knight as part of a Chapter 11 restructuring of the legendary West coast label.

    Death Row Records and Knight filed for Chapter 11 of the U.S. Bankruptcy Code in April of 2006, listing debts of $137.4 million and $4.4 million in assets.

    Those filing claims must file with the bankruptcy court presiding over the case must file by Oct. 31 or risk being barred from asserting claims against Death Row Records or Suge Knight.

    "We believe that it is vital that all parties asserting claims come forward and assert them in a timely manner so that Death Row can come out of Chapter 11 quickly," said Todd Neilson, the Death Row chapter 11 trustee.

    In March of 2005, Knight was ordered to pay over $100 million to Lydia Harris, who claims her husband, incarcerated drug kingpin Michael "Harry-O" Harris, provided $1.5 million in start-up money for Death Row in return for a 50% stake in the label.

    Knight missed several court dates in regards to the Harris' ownership claims, resulting in a default judgment.

    He filed for Chapter 11 bankruptcy protection, which allows a company to continue business operations while restructuring. Death Row is currently being operated by Neilson during the bankruptcy proceedings, while Knight oversees his bankruptcy estate as a debtor in possession.

    Among those listed as unsecured creditors to Death Row include the Harris', the Internal Revenue Service ($6,900,000), Koch Records ($3,400,000), Interscope Records ($2,500,000) and others.

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    allhiphop news:Hip-Hop Summit Heading To Atlanta
    Tuesday. 9.5.06 8:47 pm
    By EbenGregory
    Date: 9/5/2006 1:55 pm


    The Hip-Hop Summit Action Network (HSAN) has announced that it will convene a Hip-Hop Summit on Financial Empowerment at the Atlanta University Center later this month.

    Dubbed the "Get Your Money Right" national tour, the summit will feature leading Hip-Hop artists and music executives including Russell Simmons, Jermaine Dupri, Ludacris, Paul Wall, Young Jeezy, Bobby Valentino, Remy Ma, Chingo Bling, Chaka Zulu (Co-CEO OF DTP), Super Producer Bryan-Michael Cox, Def Jam head of A&R Shakir Stewart, Roberta Shields, Dr. Benjamin Chavis and DJ Drama.

    The purpose of the Financial Empowerment Hip-Hop Summit is to bring celebrities and financial experts together to speak to students and community members about the importance of financial literacy.

    Topics to be covered include the basics of banking, home ownership, repairing bad credit and understanding credit scores, entrepreneurship, vehicle financing and more.

    Established in 2001 by Russell Simmons, HSAN is a non-profit coalition of artists, entertainment industry executives, and community leaders who advocate positive social change through hip-hop.

    HSAN was founded with a mission of raising the level of public education and literacy, voter education, economic advancement and youth leadership development.

    The Atlanta Hip-Hop Summit on Financial Empowerment will be held at the Atlanta University Center on the Campus of Morris Brown College on September 16, 2006 from 1:30 - 3:30 p.m. Submit News!

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    ALLHIPHOP NEWS: Young City Freed From Prison, Working On New Album
    Tuesday. 9.5.06 8:43 pm
    By Fawn Renee and Chris Richburg
    Date: 9/5/2006 5:20 pm


    Rapper Kevin "Young City" Barnes was released from Baltimore County Detention Center on $75,000 bail last week, after being arrested on armed robbery charges stemming from an incident in 2001.

    One of the former stars of MTV's hit reality series Making The Band, Barnes was arrested July 31 in an Atlanta, GA. suburb, after being cited for speeding in Gwinnett County.

    The rapper was held for several days before being extradited to Baltimore, MD, where he was originally charged with the robbery offenses.

    Barnes was arrested as a result of several missed summons to appear in court to answer robbery charges he incurred in Sept. 2001. Barnes is facing seven counts of robbery, including two counts of robbery with a dangerous weapon.

    According to the rapper's attorney Paul Gardner of the Baltimore-based Gardner Law Group, Barnes actually robbed the two men at gunpoint with BB gun when he was a juvenile.

    Barnes will appear in court Dec. 4 to answer the charges.

    "We aren't worried at all," Gardner told AllHipHop.com. "I know the outcome of the trial will be acquittal."

    In the meantime, the rapper is working on his latest album titled Fast Life.

    "I did songs with Chingy, TI, Soulja Slim, Princess from Crime Mob," Young City told AllHipHop.com. "I didn't want to put just everybody on my album. So I got people grinding like me on the album.”

    Young City said he was no longer an artist on Bad Boy Entertainment, the label that released Da Band's debut release Too Hot For TV.

    "No bad talk about Bad Boy," Young City said diplomatically. "I was doing music I wasn't really feeling, so I'm free now."

    The first single from the album will be titled "Shut It Down."

    "Artists money for the suckers," Young City said. "I'm not a rookie anymore, I'm here now, I know how it go, so I'm waiting to shop it to people waiting."
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    Nelly Furtado: Wings Of Change, Pt 1
    Tuesday. 9.5.06 11:50 am
    By Kathy Iandoli


    As we take a trip down memory lane in the career of Nelly Furtado, it’s amazing to see the ground she has broken as an artist. From the time of her 2000 release Whoa, Nelly!, it wasn’t long before the Canadian songstress had the universe wanting to fly like a bird. “Turn Off the Lights” affirmed that Nelly was a long-time Hip-Hop chick, rocking Trip-Hop tracks in her early days as the group Nelstar.

    The 2003 release of Folklore offered Nelly’s pensive and subdued side, mixing folky rock with her signature style and sound. Now with platinum and gold plaques, Timbaland collaborations and a beautiful daughter, Nelly Furtado has come full circle with her new album, Loose.

    Nelly spent some time with us to respond to the shock of her new record, her place in Hip-Hop, and how she got here. Aside from falling in love with herself and her roots again and reveling in the joys of motherhood, Nelly definitely plans to bring sexy back!

    AllHipHop.com Alternatives: Was music always “it” for you?

    Nelly Furtado: Yeah for me, you know when I was like…I started writing songs when I was twelve and I’d spend all of my time in my bedroom. My walls were plastered with all the rap and R&B stars of the time, whether it was Bell Biv DeVoe or Mary J., or even Chi Ali and different artists like that. I started writing rhymes at one point. Then I went back to songs, and they were very R&B. And then I discovered more like Rock and Electronic and Trip-Hop, and I formed a Trip-Hop group called Nelstar in Toronto.

    My first recording gig was for a Hip-Hop group called Planes of Fascination, and I did background vocals. And, you know, it was really fun. And then for a while, I tried other Urban styles like House, Drum n’Bass- anything having to do with the city I loved. You know, [laughs] just anything with a beat. I remember at the age of ten, kinda begging my mom to buy the Casio keyboard with the built-in scratch effect so I could jam over it and sing - I always loved beats and vocals.

    I think that’s why Timbaland and I get along so well, because he’s full of beats and I’m full of melodies, so the two of us is like an explosion in the studio. The studio literally exploded the first day. We were recording a song called “Maneater,” and the volume was so loud it burnt the rubber and a flame came out the speaker. So it was very intense. I’ve changed where I learned to play acoustic guitar, electric guitar, and developed my skills as a songwriter, became more independent, and now I’m just getting better. It’s an education. It’s a slow climb for me. I plan to be doing this til, hopefully til I’m 75 like Celia Cruz. [laughs] I hope so.

    AHHA: How would you describe your journey from Nelstar to this point?

    Nelly: Nelstar, wow, seems like a lifetime ago, but at the same time is really close to home. The other day I was in Central Park alone with my daughter, just chillin’ on the lawn. Sometimes I feel nostalgic in a way [about that time]. I was only 17 and really just kind of experiencing independence for the first time because I was living on my own, and just really feeling the creativity of the city, Toronto, and the streets and the music. Trip-Hop music; Hip-Hop music. I went to my first rave and went to my first open mic. It was a very fun, very potent time, but it was also a very dark time too. I was depressed and not really knowing where my life was going. I had a dream, but had no way of making it come true.

    Eventually I decided to go back home and go to college, and I bought a guitar because I learned how to write songs better; took some writing classes. Before that I met Track and Field. They kind of brought a ray of sunshine into what I was doing. I was really melancholy until I met them, and then I was like, “Uh oh! Music can be happy!” Then I started writing different songs. Then I wrote a song called “Hey Man,” which was on my album [Whoa, Nelly!], and I realized that I had my own unique voice. Around that time was also when I was discovered at a talent show in Toronto. From then on things kept going. I did my demo with Track and Field in Toronto in their bedroom apartment/studio. A lot of my earlier demos were made in bedroom studios. [laughs]

    AHHA: Coming from a musical family, was the music industry a shock to you at all?

    Nelly: My mom was real strict about us doing music, but when I got into the music business, I had only performed like five times. I did musical theatre, but like it was much more about music growing up than it was about performing. One of my first performances was at the Tonight Show, my first photo shoot was with Vanity Fair, my first tour was opening for U2. So it was very scary. It’s only now that I’m getting my sea legs. I feel like now I’ve caught up with everyone who was on the Mickey Mouse Club since they were little kids. And I mean that in a good way. I’m not making fun of those people, I was just very out of place when I came out because I was a Pop artist, but didn’t have the experience - the showmanship.

    AHHA: How did you first become involved with Hip-Hop?

    Nelly: Um, I think I’ve always kind of been different. Since I was like a little kid I was always like experimenting with different musical styles. I did everything from play trombones or play the ukulele to sing in choir and also always sung in two languages: Portugese and English. So I already started off eclectic at the age of four, you know when I first performed. So Hip-Hop was just another style I picked up along the way and what I do as an artist is I try to flip it up every time, because I never want people to guess what I’m gonna do next. I always wanna turn people’s heads and not shock them, but just kind of prove to them I can do different things. I think the Hip-Hop thing was one last weapon I hadn’t pulled out yet. I was saving it, you know? And I knew on my third album I’d probably unleash that on people so... A lot of people who know the material and know the catalog and know the remixes and collabos I’ve done, from the Roots to Jurassic 5 to Missy Elliot, Miss Jade... You know, independent artists like Swollen Members or Jellestone to Saukrates to different people I’ve worked with. It’s a part of what I do, you know, and in this album with Timbaland is like us kinda putting our heads together and fulfilling on the promise we made with a couple of tracks that turned people’s heads five years ago, you know?

    AHHA: You described Loose as putting your hoodie back on to go hangout with the Hip-Hop kids. Hip-Hop has been an underlying thread in your career. Why do you feel that so many people are shocked still at you moving more towards Hip-Hop?

    Nelly: [laughs] It’s just so funny. It must be those people who only heard “I’m Like a Bird” I think. [laughs] Sometimes people judge artists by their last material. Nevermind the whole body of work before that. So it’s kind of funny, but for me, I just don’t live my life that way. I live my life completely diverse and completely open-minded. Folklore was my singer/songwriter album back when I was performing at coffee houses and listening to a lot of Elliot Smith and Beth Orton.

    But then this album is more the time of my life when I was listening to like Salt-n-Pepa, New Edition, Boyz II Men, LL Cool J. I don’t want any of my albums to sound the same. Now people are seeing more of the entertainer in me. Like “Promiscuous Girl;” all of the steps are choreographed. I was putting on a show with my performance. I love it, because I feel liberated like when I was 13 in my room doing my favorite Janet Jackson routine. I love that. That’s why this album was so fun for me. But at the same time, I’m only now coming into my own.

    AHHA: You have a song on the album called “Afraid” and the chorus says So afraid of what people might say / But that’s ok, ‘cause you’re only human. Was that any indication of reservations in putting the record out?

    Nelly: You know, I think in these past couple of years in life, I’ve just grown a whole lot. After the birth of my daughter, Nevis, my whole life changed. I’ve kind of let go of my ego, because once you become a mother you don’t care so much about what people think of you. You act the way you want. You don’t have time for wishy-washiness. When I was recording this album in Miami, I was going through changes as a person too. Just kind of like feeling like myself for the first time. I think because Miami is just so Latin, and everyone speaks Spanish. Being a Latin woman in Miami, you just feel at home. You’re completely surrounded by people who look like you similarly or culturally.

    I wrote [the chorus to ”Afraid”] in a hotel room in Miami, and it came out of nowhere. What I like about the chorus is that it reminds you of walking down the hall in high school always afraid of what people think about you, because you live from the outside in. Now that I’m an adult, I care about the inside of me. I realize now that everything comes from the inside. Before I said I didn’t care about what people thought about me, but I really did.

    AHHA: What are some of your experiences working with Hip-Hop artists?

    Nelly: You know, all of my experiences working with Hip-Hop artists...that was my inspiration for calling this album Loose. ‘Cause what I discovered was even when I was promoting my first album, you know, these artists would approach me. At one point I was getting requests for Hip-Hop collaborations like every week! It would be like from DMX to Foxy Brown to everybody, and I couldn’t do it all because I was always touring. But I have so much respect for so many of those artists and I got around to doing the Jurassic 5 thing. Hooked up in LA at NuMark’s home studio, and it was incredible working with them.

    What I found every time I collaborated with a Hip-Hop artist, I felt so relaxed. I felt Loose, you know? And then I scratched my head and a lightbulb went off, and I said, “Why aren’t I doing this on my own records? I could make my life so much easier!” And I did the Jay Leno Show like four or five times, but the time I felt the most relaxed was when I did “Get Your Freak On” with Missy Elliot. It just kinda rolled off my shoulders because I think culturally, just growing up, my relation to music has always been very spontaneous. When I was a child, my father would take me to these events where two people would kind of battle each other, not rapping but singing over guitars. It’s a Portuguese traditional style from the islands they’re from. And I was a child, so it made an impact on me. The element of the spontaneity and the freestyling; definitely the idea of coming from very simple roots.

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    A Letter To All Shockbloggers....
    Tuesday. 9.5.06 11:48 am
    No pics. No music. No additonal formatting. Just words.

    You know that one person at your job that’s been there forever, complains about the place constantly, never speaks instead just grunts...but is there everyday, faithfully?

    Consistent in two things - attendance and bringing negativity to the environment.

    That's what some bloggers/internet writers seem to be all about.

    Yes, this marvelous thing called the internet has given all of us voices to be heard around the globe 24/7/365.

    Yes, I, too, voice words of disdain for certain things going on in and around music and our world. There's no lovefest going on over here and, yes, contrary to what it might seem, I have less than perfect days.

    But goddamn, do some of you folks go outside or do you simply sit @ home waiting to whine about every news blurb as soon as you read it? Is there any sunshine in your day, any positives? Or do you sit back and giggle like Dr. Evil when you click publish knowing you've done nothing but incite and create adverse reactions? Personal opinion is one thing but must it always harp on the negative?

    Let me guess, shockblogging is what got you where you are and the readership you've so meticulously cultivated?

    In the past few days, there's been a minor uproar over the innernuts about Phonte of Little Brother's Myspace blog about a recent performance, which he called their worst ever, along with a retort by an XXL Blogger and subsequently Phonte's reply.

    Now, don't get it twisted.

    XXL has some quality bloggers who I always checked before they were affiliated with the online mag and still check for now during their tenure there.

    But there's a few on there who need to step away from the keyboard and go interact with people; get some joy in their lives of sorts.


    Because it seems they're never happy about any parts of hip-hop culture or Black people in general. I honestly don't understand why they even choose to partipate.

    I can't say I am pleased every day either.

    But I consider it this way - both cultures, Black and hip-hop, have this psyche that says "complain complain complain" without offering viable solutions or alternative options.

    I may not care for Lil Wayne (LOL) but if he drops a hot song, I give credit, put it in the whip and pump it loud. Hell, somedays I still can't feel my face, I'm still a d-boy and I'm still rockin that hustler musik.

    And if we don't care for Wayne, guess what, we put up some shit we ARE feeling. I swear I intend every day to try and drop something, musically or otherwise, that I find good and share it with you folk. Some days are successful and well-received; others aren't. I accept that. You can't hit a homerun every single time up to bat.

    But others seem intent on daily spewing as much negativity as they can.

    * "The new _________ album sucks. It's the worst album in the history of music...until the next new release Tuesday at least."

    * "____________ was the worst thing I've ever seen or witnessed. But, I watched it anyways because I had nothing else to do."

    * "__________ needs to put the mic down, be quiet and keep signin' his royalty checks over to his baby momma."

    * "Coon" this...and "jigs" that.

    You get the drift.

    To those individuals, I would love a face-to-face meeting to ask...


    How are you helping us move forward?

    By calling Blacks "coons"? Yeah, significant contribution there...to the other side.

    By dissin' artists who attempt to bring sounds innovative to the current landscape?

    I won't delve into the whole Phonte-XXL Blogger debate. It has been beaten, resuscitated only to be beaten again in a matter of days.

    I support what LB is doing and that is putting out mature music, bar no genre classifications.

    Also, I like what Tay says and does - he's honest, he understands their current status, self-effacing, and many other things.

    If perhaps some of you don't, that's fine. Instead of complaining, take the forum you've been given, the internet, a bring forth something that you see as positive.

    But as I said earlier, always try to offer solutions or other options. Sometimes you have to break down in order to build back up...

    * Bitterness is not an endearing attribute. It seems as if you were either not hugged enough or coddled too much as a child. Take the initiative to go see a therapist and work out your issues. Just because the people come to you to read your writing does not mean that you should feel the need to work with the powers that be to dismantle and discredit hip-hop and Black culture as a whole. It took years to build up and only a second, or a few choices words perhaps, to tear it down.

    * Most shockbloggers are online Wendy Williams caricatures. Now I know it seems like Wendy has a huge following....but the majority of people are laughing at her, not with her. In fact, most are pointing and laughing. Honestly, which category do you think your readers fall into?

    * The majority of the times, your arguments are never well constructed, as in they take a part for the whole and argue it ineffectively. Try to base your arguments on facts and have it multi-pronged otherwise anyone with insight and intellect will easily deconstruct it.

    * Substance. Please.



    To our regular readers, we'll be back with our usual offering of music and other shenanigans later. Sorry to disrupt your day with such triffles but it needed to be said.

    posted by Gotty™ on Wednesday, July 19, 2006


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    VIBE Media Group Seeks Editorial and Online Interns
    Tuesday. 9.5.06 11:46 am
    August 30, 2006

    VIBE Media Group is seeking dynamic interns to work with the Editorial and Online departments of VIBE and Vixen magazines. An internship with VIBE/Vixen will allow aspiring student journalists to apply classroom skills in a stimulating real life workplace.

    Interns make big contributions to both magazines. VIBE Media Group wants individuals who are keen on today’s pop culture. Ideal candidates will be detail oriented and reliable and must have strong organizational and communication skills, the ability to multitask and the desire to work hard and be a team player. This is an opportunity to be a part of VIBE as we document and make history.

    An internship with VIBE/Vixen will allow students to gain insight as to the inner workings of a magazine, from editing to production. It’s a great chance to network with and learn from journalism trailblazers.

    All interested students should e-mail a cover letter and résumé to Shauna Barbosa at [email protected]. Please use the subject Editorial Intern or Online Intern when applying.

    Have a news tip? Email us.

    Read more vibe.com news headlines.

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