Chris Stapleton’s first album since 2017, Starting Over, has been out in the world for a few weeks. In order to celebrate the 14-track effort, Stapleton brought his track “Devil Always Made Me Think Twice” to a rollicking performance on The Late Show With Stephen Colbert.
Broadcasting from his cozy home studio, Stapleton gave a revved-up rendition of his song complete with a captivating guitar solo. “And mama always set a good example / Daddy always gave me good advice / Jesus tried to steer me in the right direction / But the devil always made me think twice,” he sings with his signature smokey vocals.
While Stapleton’s Starting Over was his first LP in three years, that’s not all the singer had been working on. Back in 2019, the singer made a very quick cameo in Game Of Thrones where he got the chance to play a White Walker. “I was like, you know, I would gladly fly to wherever in the world just to be a small part and get to watch that show going down,” he said about the opportunity. “They were gracious enough to let me come participate that way.”
Watch Stapleton perform “Devil Always Made Me Think Twice” on The Late Show above.
Starting Over is out now via Mercury Nashville. Get it here.
James Harden is still not at Rockets camp as the team had anticipated his arrival this weekend and when he didn’t show they called it “a setback” to their plans. The superstar guard has made it abundantly clear that he would like a trade, with his entire focus in recent weeks being on getting to the Brooklyn Nets.
The problem with that plan is, with two full years left on his contract, the Rockets are not in the same time crunch as previous star trade requests and, as such, have refused to lower their price in trade discussions. Houston still wants an All-Star caliber player in return, along with significant draft compensation, and that is not something Brooklyn is willing to match right now, as their likely package includes good players like Spencer Dinwiddie, Caris LeVert, and Jarrett Allen, but none of those fit the All-Star/All-NBA bill.
As such, there has been no apparent traction on trade talks with Brooklyn and Harden has decided to open up his request to other teams, provided they are also contenders — including the Philadelphia 76ers where Daryl Morey now runs things — per ESPN’s Adrian Wojnarowski and Tim MacMahon.
After it was clear there was no traction in talks with the Nets, Harden expressed to the Rockets that he would be agreeable if a trade with the 76ers materialized, sources said. Harden also indicated that there could be other teams that fit his criteria for a preferred destination, a source said.
The question remains as to whether Philadelphia or any other top contender would be amenable to sending the Rockets the return they desire in a Harden trade, although the Sixers certainly have the ammunition to do so should they so choose. Ben Simmons has been the name most have expected to be the Rockets top target in Harden trade talks, although to this point Morey has not been willing to split up his two young stars in discussions, per MacMahon and Woj.
Among the issues facing a Harden trade are teams wanting the superstar to be willing to agree to an extension — which he turned down from the Rockets earlier this offseason that would’ve made him the first NBA player to earn $50 million a year. Still, as the season approaches, one can expect talks with some team to at least enter the “semi-serious” phase, and we will learn exactly how uncomfortable Houston is willing to make things this season if they aren’t offered a monster package by someone by opening night.
Railing against cancel culture is practically Ricky Gervais’ calling card at this point, and he didn’t disappoint during a recent interview where he blasted Twitter outrage for costing people their careers. While sitting down with Jason Bateman, Sean Hayes, and Will Arnett for their SmartLess podcast, Gervais unloaded on how the popular social media site has elevated mass voices that the British comedian argues shouldn’t be elevated. Via Mediaite:
Gervais went on to describe cancel culture as a form of “road rage,” adding, “It’s things happening too fast that you can’t take back. People dig in and people want to be heard. People want to feel they have an effect. It’s why people heckle a comedian. They want to feel they were there. Now people are heard.”
Gervais also blasted the validity of Twitter backlash and the way it can result in a person being canceled. “An idiot stands next to a genius on Twitter and it looks the same,” he noted. “It’s the same font.”
While the existence of cancel culture is hotly debated, and it’s no secret which side of the argument that Gervais sits on, he did offer some nuance on the controversial subject. The comedian agreed that criticism is valid and people have a right to not support an entertainer — to a point. “They’re allowed to not buy your things. They’re allowed to burn your DVDs and they’re allowed to turn the telly off,” Gervais said. “What they’re not allowed to do is to bully other people into not going to see you.”
As for being cancelled himself, Gervais isn’t at all concerned and has a back-up plan if necessary. “Who’s gonna cancel me? Twitter? YouTube? If I have to, I’ll go to Hyde Park and stand up on a bench and shout sh*t.”
Though Chloe x Halle had put out their debut album The Kids Are Alright in 2018, 2020 was undoubtedly their breakout year. The sister duo put out their mature LP Ungodly Hour this year and ever since, they’ve been getting some major gigs. They’ve performed on various late-night talk shows and awards ceremonies, and they were even tapped to sing the National Anthem at an NFL kickoff. Now concluding a whirlwind year, Chloe x Halle brings their slow-burning music to NPR’s Tiny Desk concert series.
Seated on a not-so-tiny desk, Chloe x Halle harmonized their soaring melodies backed by a full band and a string section. They kicked things off with their track “Don’t Make It Harder On Me” before moving into “Baby Girl,” which they wrote as a reminder that “whatever happens it will be okay.” Finally, they rounded off their set with “Do It,” “Ungodly Hour,” and “Wonder What She Thinks Of Me.”
While their Tiny Desk concert capped off a busy year for the two, Chloe x Halle recently revealed that they were criticized for their “complex” sound before being signed by Beyonce’s record label. Speaking to The Guardian, Chloe said, “People would tell us what we were creating was too complex for the average ear. I feel like that’s so not cool to tell two young creatives who are pushing the boundaries, especially when we’re in a world where everything’s so manufactured exactly the same.”
Watch Chloe x Halle’s Tiny Desk performance above.
Ungodly Hour is out now via Parkwood Entertainment. Get it here.
Rudy Giuliani might be grabbing all of the attention (and for good reason) during Trump’s post-election fiasco, but behind him, there’s a smirking lady lawyer member of Trump’s “Elite Strike Force.” That would be Jenna Ellis, who’s stood near Rudy for the hair goo and every other recent adventure, including his audible gas-passing (complete with Jenna side-eye) during a Michigan hearing. That’s the same hearing where he asked a woman next to him to take off her mask, four days before testing positive for COVID-19, and given that Jenna sits next to Rudy, oh boy.
Axios reported on Tuesday morning that Jenna had “informed associates she tested positive for the coronavirus,” which upset a lot of people since she attended a West Wing Christmas party (where people brought their families?) on Friday. She undoubtedly acquired the virus as part of her work on the Elite Strike Force (and likely caught it from Rudy, and yes, there are more fart jokes), but she believes that she’s doing God’s work. Via Raw Story, here’s what Jenna had to say to Fox Business when asked how she feels about people thinking she’s crazy for pushing the “election fraud” conspiracy into lawsuit after failed lawsuit:
“You know, my life is in service and honor to the Lord Jesus Christ. And so whatever anybody else says really doesn’t bother me… and that’s ultimately at the end of the day, as long as I know that I’m pursuing truth and I’m doing the right thing for God and my country, that’s all that matters. So that’s what gives me my optimism and my hope.”
Her words stand on their own in terms of being truly bonkers, but it’s worth revisiting Jonathan Swan’s Axios report. He wrote that Jenna would neither confirm nor deny “test[ing] positive and that some senior staff weren’t happy,” Jenna responded that Swan was “rude” to text so late in the evening (after midnight). She added, “You must be more informed than me because I haven’t heard that,” and then she stopped responding when Swan asked if she denied having Covid-19. “Rude” might apply to a lot more in this situation than texting after midnight, but alright.
A long time ago, one of the biggest criticisms of hip-hop by music traditionalists was that the new genre didn’t use any “real instruments.” Condescending rock snobs thumbed their noses at early rap producers’ use of drum machines, samples, and turntable mixers, deriding them for using technology in place of honored tools like real drum sets, guitars, keyboards, and whatever other sounds could be used to make popular music.
We’ve come a long way since then; rap has become one of the most popular genres in the world and more often than not, the two styles have informed each other. As one incorporated new technologies, the other began to rely more and more on live instruments and musicians to embellish and build on the once-simple formula established by producers of old. And one group of musicians stands at the forefront of innovation in hip-hop: 1500 Or Nothin.
Established by musician/producer Larrance “Rance” Dopson and singer-songwriter James Fauntleroy in the early 2000s — along with Lamar Edwards and Brody Brown, as well as Kenneth “Bam” Alexander Jr., Alexandria Dopson, Charles “Uncle Chucc” Hamilton, Carlos “Los” McSwain, and Jeret “J. Black” Black — 1500 Or Nothin began as a band and quickly expanded into a do-everything collective of musicians, producers, songwriters, and videographers generating content for the biggest names in music, from Jay-Z to Justin Timberlake.
However, simply being one of the low-key biggest names in music wasn’t enough for James and Rance. Seeing a need not only for skilled musicians and producers in the music world but also for business-savvy ones, they decided to turn their double-decade level of experience into a curriculum preparing working musicians for the real world. They established the 1500 Sound Academy in their stomping grounds of Inglewood, California in 2018, partnering with entrepreneur Twila True and instrument manufacturers like Roland to provide state-of-the-art equipment, practice rooms, and recording studios to students participating in their six-month certificate program.
Students learn the business from working musicians like “Air” Jared Selter, an award-winning sound designer and producer, jazz revivalist Terrace Martin, production duo Mike & Keys, and Fauntleroy, who has written hits for Beyonce, Frank Ocean, Jay-Z, and more. The curriculum includes everything from networking to contracts — the importance of which has been highlighted several times over the past year. The building even has a performance stage, where students can jam out to their hearts’ content after classes.
The Sound Academy doesn’t just teach musicians the business, though. It actually helps them find positions within it and thrive. While many starry-eyed aspiring producers often see themselves accepting Grammys for producing hits for Kendrick Lamar, the Sound Academy shows them hundreds of other opportunities for lucrative behind-the-scenes work that mainstream fans may not even be aware of. The Academy is building, slowly but surely, a community of artists who can rely on each for support, even after they’ve completed their courses.
In an interview over the phone, Rance says his goal is to help make musicians “unemployable.” While that sounds counterintuitive, what he really means is he wants to ensure that they have all the tools and know-how to work for themselves so they can create their own opportunities and ensure their longevity. While some elder statesmen would rather withhold that information to curtail future competition, Rance, James, and the rest of the 1500 collective sees themselves as empowering artists in an industry where knowledge is power.
What was the process of beginning the 1500 Sound Academy?
I’ve traveled around the world. I got like three filled passports. So I’ve been able to pay attention to a lot of the problems around the world in the entertainment business. So I always kept notes of that. James, at that time, was writing for all the biggest artists in the world to where we were just gathering information and solving problems and seeing what was going wrong in the music business and how could people like us, as writers and producers, be treated fair. It was just a lot of things we didn’t understand about the business that we didn’t think was right.
We just wanted to create our own curriculum with expert opinions, because in the music business there really isn’t rules for this. Due to the fact that it’s a new day and age of technology, everything is new. So everyone does music differently and we just want to be a blueprint of what the music business is today in the fairest, high-level way.
What would you say is probably the most important thing for a young, up-and-coming artist to know about the music business?
We try to teach you how to be unemployable. I tell people all the time, it’s really about being able to create a thought and for it to really happen. So I tell people all the time, the only thing people can do is license my thoughts and ideas as partners, just because I understand how powerful it is when you understand and know all the rules to break the rules.
Our school is the school for that, to literally teach you everything from the music business to emotional intelligence. We have songwriting classes, financial literacy classes. It’s everything at a high-level, so you can at least know how to do everything on your own and you’re learning from industry professionals that are really in the business today
What’s one thing that you’re surprised that people don’t know about the music business when they come in?
Publishing. Really understanding the music business, the publishing, the royalty system, and how it really works. And just learning how to be a good person. Ninety percent of the business is just being someone cool, to where you can do business with your friends when you get to a certain level. Also, not reacting to emotional and low-level things to where it’ll ruin your opportunity. I see a lot of that in the business. You’ll make an emotional reaction, where if you really thought about it and just took your time and relaxed, that could change your whole life. It’s really simple things.
Speaking of making music with your friends, you have one of the most impressive lists of friends in terms of people you’ve worked with and people who do business with you. Who was the first person that you worked with that you were just utterly starstruck to be sitting in as a musician or engineering or producing for them?
Well, when I first started, I got my first hit when I was 17. I’m 36 now.
But I would have to say, Snoop Dogg. Between Snoop Dogg and Jay-Z. They gave us our first opportunity. We were blessed to have the opportunity to work on “Show Me What You Got” with Just Blaze and Jay-Z and Snoop Dogg. They really opened the door and it gave us an opportunity. They were like our uncles that loved us, so they really protected us and taught us a lot about the music business and I just appreciate them for that.
What is the importance of having live musicians on deck? What do they bring to the production process that you normally wouldn’t get from a sample or a synthesizer?
It’s really like if you want food in a microwave or if you want food from the oven. There’s a big difference. Food from the microwave, you can hear it. Food from the oven, you can feel it. So it’s a difference. People could tell that you care. People don’t even realize when they hear music and when they move, it’s because they’re feeling it and not even realizing it. That’s one of the secrets to us being the producers we are. We know how to mix everything in one to make all genres happy.
What things have changed the most since you started?
Well, thank God, we really understood branding at an early stage, because one of the most powerful things for branding is word-of-mouth. So I was the guy, every day, wearing a 1500 T-shirt. Every award show. Every time you seen us, we really wanted to let everybody know who we was and create a brand for ourselves. And now it’s much easier. I don’t have to wear a T-shirt every day, because you know who we are.
Then, we were learning the rules. Now, we’re breaking the rules and helping other people learn the rules too, so they can break them. And that’s the most important part. That’s why me and James went through it, man. That’s why I wanted to build the Sound Academy — to have a place where we can really train these people because I’m getting calls every day.
There’s opportunities for movies and TV shows and award shows. Every single day that they’re calling me for business. But we have to make sure we train them right to where they can deal with superstars and deal with an emotional person and know how not to react and know how to just be a good person where you can stay memorable — for them to call you again for the next gig and just to keep favor with your name. That’s so important and that’s what changed.
To that end, I would really love to know where some of the 1500 Sound Academy students ended up.
They’re on fire, man. Some of them have been in Kanye West’s choir. They’ve been touring. We got some working for Young Thug. We got a couple of people working with Roc Nation. After you graduate, you’re one of us. So when there’s opportunities and we know that you could fit the job, it makes total sense for us to call them and hook them up. I still have sessions and bring our students to my studio sessions and just show them the real experience. Because to know is to experience and we just want to really teach them hands-on so they can actually see it and be inspired. All it takes is one time or one conversation to change someone’s life forever, so we want to keep building those opportunities.
Speaking about opportunities, what were some of your favorites from over the years and what drew you to those opportunities in the first place?
Roddy Ricch’s Tiny Desk concert. I just executive produced Trippie Redd’s album that came out. We’re working on Justin Timberlake’s new album. I know James is doing Bruno Mars’s album right now. Jeezy album comes out Friday. I worked on that. We’re pretty much working with everybody right now in the business. Today I have to do a show with Roddy Ricch and we’re doing AMAs with Lil Baby and I’m the musical director for that. We just did Megan Thee Stallion. All her shows and her award shows, I’m the musical director for that.
You’ve done a lot of interviews over the years. You’ve talked to a lot of different publications. I’m sure you’ve heard every question in the book. But every artist has that one question that they wish people would ask them that they never heard because it’s something they want to talk about, but nobody ever gives them that opportunity.
Why there are only like two superstars and why are there so many artists that don’t make it. I know the answer. You want the answer?
Go for it.
I learned this from one of my close friends, Big Bob. He’s a guy that taught me and Nipsey Hussle and a lot of other people about branding. You got to know the 22 immutable laws of branding. It’s a book. It’s called [The 22 Immutable Laws of Branding: How to Build a Product Or Service Into a World-Class Brand]. If anybody says they’re a business person, but they don’t know those laws… They have to know these laws.
If you miss number nine and number 16, your whole business can fail. You don’t even know why it’s failing. So it teaches you things like every brand has to own one word in the hearts and the mind of the consumer. So let’s say if I say FedEx. If I say FedEx, the first word in the mind that they own is overnight. So if I say your name, if I say an artist’s name, what is the first word they own? What is your cure for the world? Am I going to listen to your music when I want to work out or when I want to go to sleep or when I want to just chill or when I ride in the car? You have to figure out what is your cure.
It talks about stuff like a new brand never sells advertising. That’s the one mistake every label does when they tell their artists, “Say, ‘Hey, go buy my album, go buy my album.’” And that’s the number one thing you’re not supposed to do. It’s called favorable publicity. Favorable publicity is when you have other people talking about your album. That’s what you want to get people to do.
There’s a guy named Clayton Christensen I think everybody needs to really study. He created the word disruptive innovation. When you really understand that and figure out how to create your own category, your own words, your own market to where there’s no traffic in your own lane, that’s when you can really differentiate yourself and then have people talking about you. Because it’s about being the news seven days of the week and if you can’t be in the news, in the conversation of people, it’s not going to work. It’s about being a sensory brand. You have to cover all the senses. You got to be able to sell every sense. And when artists figure that out, then they’ll have some money and they’ll be successful. The end.
Republicans in Arizona are taking this whole “Stop The Steal” campaign to a new level. The official Twitter account for the Arizona Republican Party has started retweeting Trump supporters who claim they’re willing to die for their belief that the 2020 Presidential election was rigged. Trump of course has been pushing this narrative since Joe Biden won a couple of weeks ago, claiming voter fraud in key swing states like Arizona was to blame for his loss. His legal team has drafted up suits in a handful of states, but they’ve all been tossed out of court due to lack of evidence. Trump’s legal team — headed by a Covid-stricken Rudy Giuliani — has been peddling conspiracy theories and holding unofficial hearings to prove their case, but again, no tangible evidence of voter fraud has come to light.
That doesn’t seem to have done much to sway Arizona Republicans though.
It’s more than troubling to witness a political body encouraging supporters to take up arms and risk human life in order to keep Trump in office, especially for opponents of the current administrations who have been battling against these voting misinformation campaigns since the election. Pennsylvania Lt. Governor John Fetterman is one of those people, and he quickly took to Twitter to condemn his fellow politicians.
The AZ GOP put out a casting call for martyrs over Twitter.
This is truly bonkers and unbelievably dangerous.
I’ve been saying all along about how *punitive* it is to be a Republican who just simply acknowledges electoral *reality*. https://t.co/w2Zrma0VrQ
Some other social media onlookers jumped on the train too, dragging the party’s official account and a few Trump supporters who were trying to drum up support for this whole “take up arms” movement.
I mean, Trump has been asking people to die for his economy since April. Pretty on brand for the modern @GOP
Our only pressing question right now though is this: Did no one teach these guys how to lose with dignity? And also, is Donald Trump really someone worth dying for?
Future’s “Mask Off” is about freedom. Freedom from the figurative masks we wear to conceal what lies beneath. The feeling of freedom that drugs provide. Metro Boomin’s stoned flute lick rides as smooth as the chromed-out luxury whip Future steers through the song’s music video, Amber Rose riding shotgun. But masks can also mean freedom as Future looks over rioting and looting, face coverings used to conceal identities, empowering people to embrace anarchy.
Released in 2017, “Mask Off” was Future’s greatest chart success at the time. Comfortably fitting into his distinctly cosmic brand of hip-hop, it’s not a gimmick track, yet popularity immediately made it extremely meme-friendly. Fans performed the famous flute lick with whatever they could: violins, electric guitars, saxophones, trumpets, trombones, and vocal chords skewered to breaking point. The song even has its own dance. “Mask Off” was definitively a pop culture phenomenon.
Future could never have envisioned that by 2020 the title of the song would double as a chilling command. Masks and face-coverings are one of the most important tools in the fight against Covid-19 because they are one of the simplest. Taking them off in public is a bad idea. Future knew this to be true and so he inverted the message. The “Mask On” initiative saw the Atlanta star partnering with a local sewing organization to provide facemasks to hospital workers and patients. This was March, when masks were in short supply. A March 9 New York Times report, which featured Atlanta’s Grady Memorial Hospital in its reporting, stated: “With global supplies already depleted from the outbreak in China and manufacturers facing an explosion of new orders as the virus spreads, some hospitals in the United States have been unable to get new shipments of N95 masks or even an estimate of when they might become available.”
Future’s initiative was implemented via the FreeWishes Foundation, founded by the rapper (real name: Nayvadius Wilburn), his mother Stephanie Jester, and his sister Tia Wilburn-Anderson. It came about when the foundation started seeing the news reports of doctors forced to reuse masks, with some getting infected with Covid-19 because of the lack of adequate equipment. At first they considered simply ordering the masks the healthcare workers required but quickly found this would be impossible. So instead, FreeWishes partnered with Atlanta Sewing Style, which organized 500 people to make and deliver the masks.
“As most people adapt to the new normal of staying quarantined to protect themselves from the coronavirus, healthcare professionals do not have this privilege,” the foundation said at the time. “In addition, they do not even have enough supplies to protect themselves from contracting the coronavirus.”
A month later, members of the organization set the number of masks made at more than six figures. The organization set out to make a difference and provide those masks, and they believe that they’ve easily reached more than 100,000 people. “Some orders that we have, we provided 5,000 masks and then 3,000 here, another 500 there,” Abesi Manyando, FreeWishes’s Communications and Brand Strategist told Complex in April. “We’ve certainly reached hundreds of thousands of people.”
Future himself has not spoken publicly about the initiative. I suspect the lack of involvement in the communications side of things is to ensure that his philanthropy can’t be framed as being in the interest of his career. Or perhaps as a wealthy person in the bracket of most protected and with the least to lose from the pandemic, he’s self-aware enough to stay in the background on this. Still, it’s powerful that a man with Future’s reach and influence has backed the use of face coverings for all to see. And it’s worth saying that Nayvadius practices what he preaches — albeit with his own ostentatious (perhaps overly so) spin. In June he showed up to the BET Awards with his daughter, the pair wearing flashy face coverings made with brass frames and Swarovski crystals said to have cost between $2,500 and $3,000 each.
Additionally, July saw the announcement of FreeWishes’s new scholarship scheme for students affected by the pandemic. High school graduates who were due to be enrolled on a college course in the second half of 2020 were asked to submit a video about how the Covid-19 negatively affected their education. The maximum award was $2,500. And in September, FreeWishes announced a delivery service that gives senior citizens in Atlanta packages containing first aid kits, masks, snacks, books on health and wellness, and various essentials, as well as providing health services.
In a world where some remain skeptical of celebrity’s advocating for political or social causes, it’s impossible not to see the benefit of rappers using their resources and influence to place masks in the hands of people who need them and, in doing so, endorsing a practice that requires mass compliance to be highly effective. Especially as the politicizing of that practice has become a needlessly divisive issue in the United States. When the country and the planet hopefully sees the other side of this thing, Future is one of the millions of citizens who can say he did his part.
It seems like nearly everyone is jumping on the OnlyFans bandwagon this year after celebrities began flocking to the site to post exclusive content. Cardi B launched her page this August and has kept it relatively tame despite the racy content for which the site is best known. 50 Cent, however, may not be as PG.
50 Cent took to social media Monday to tease the possibility of launching an OnlyFans page. The rapper posted a post-workout photo flexing his biceps and gauged interest in starting a potential account. “i’m getting back in shape, in shape,” he wrote. “girl you want to see go to my LOL ONLYFANS PAGE.”
i’m getting back in shape, in shape girl you want to see go to my LOL ONLYFANS PAGE.. Now why would you go looking at, I am a boy Damon WTF I change my mind. LOL pic.twitter.com/HjBKouTvm2
50 Cent has been critical of women joining the site in the past, but it seems like he’s changed his mind — something that he’s not shy about doing. Just ahead of November’s election, 50 announced he was voting for Trump after seeing that Joe Biden’s tax plan. But after a conversation with his ex-girlfriend Chelsea Handler, who offered to pay his taxes if he promised to vote blue, the rapper confirmed that he had changed his mind about voting for Trump.
Check out 50’s OnlyFans teaser above.
Cardi B is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Run-DMC and 12on12 have released a limited-edition vinyl paying tribute to Jam Master Jay on the 35th anniversary of the group’s third album, Raising Hell. With artwork created by LA artist Reena Tolentino, the release is a compilation curated by Darryl “DMC” McDaniels and Joseph “Run” Simmons, featuring “a premium package” and “double-disc gatefold vinyl with exclusive Run-DMC labels featured on the discs.”
Only 500 copies have been made, so the price tag of $225 just might be worth it for serious collectors. The album itself features hip-hop classics like “Superrappin” by Grandmaster Flash & The Furious Five, as well as Run-DMC’s own “Rock Bock” and the original Aerosmith version of “Walk This Way.” There’s also a beanie available for $50 or you can get both bundled for $260. Check it out here.
Track Listing:
Side A
1.) “Superrappin’” by Grandmaster Flash & The Furious Five
2.) “Seven Minutes of Funk” by The Whole Darn Family
Side B
1.) “Planet Rock” by Afrika Bambaataa & Soul Sonic Force
2.) “Trans Europe Express” by Kraftwerk
3.) “Walk This Way” by Aerosmith
4.) “Rock Box” by RUN DMC
Side C
1.) “Apache (Jump On It)” by The Sugarhill Gang
2.) “Brand Nubian” by Brand Nubian
3.) “Good Times” by Chic
Side D
1.) “Love Is the Message” by MFSB
2.) “The Look of Love” by Kenny G
3.) “You Bring Me Joy” by Anita Baker
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(@ThisWasMash) 
girl you want to see go to my LOL ONLYFANS PAGE.
Now why would you go looking at, I am a boy Damon WTF 
I change my mind. LOL 