Empowerment Music Group is on the rise and their new flagship artist Mike Hardy is making some serious noise with the release of his new single “Shotgun Shawty. The record has been going strong and been featured on all the top publications online such as Allhiphop.com, JackThriller.com, SOHH & many more. Check out the video here.
Creators of Facebook make a move designed to attract more polished content and more ads by sharing it’s ad revenue with creative members
Facebook is finally getting serious about making money from with their users. The popular social network announced last week that it would begin sharing ad revenue with video creators and if successful it will make them a competitor of online video sites like YouTube or Vimeo.
Up until now, Facebook has only promoted video ads into users’ news feeds. The new feature, called “Suggested Videos”, will include ads between professionally produced content from major media companies similar to TV commercials.
The revenue-sharing model Facebook unveiled Wednesday is similar to YouTube’s, in that Facebook will keep 45% of the revenue. Unlike YouTube, however, video producers will recieve a much smaller cut after facebook collects.
David West leaves over $10 million in Indiana to play for Pop
The San Antonio Spurs aren’t waiting for Tim Duncan and Manu Ginobli to hang it up to ensure that they’ll be able to continue to make title runs in the near future. After locking up the most high-profile free agent on the market, LaMarcus Aldridge, the Spurs went after David West, who just agreed to sign for the veteran’s minimum of $1.4 million, leaving $12 million on the table in Indiana.
West will presumably back up Tim Duncan, who is believed to be in his final year as a pro, and LaMarcus Aldridge, who just agreed to join the Spurs on Saturday after a week-long internal debate. It’s clear why West chose to leave Indiana, his home of the last 4 years. He wants to win a ring, and he gave up more than $10 million to make sure he has a chance at one.
West won’t just be tagging along, however. The Xavier alum averaged 12 points and 7 rebounds last season, and is a career 15 & 7 guy shooting 80% from the free-throw line. Greg Popovich has another shiny new toy on his roster.
Microsoft rebrands Xbox Music to Groove
Microsoft killed off the Xbox Music branding in its music and video apps for Windows 10, but today the company is rebranding the entire service to Groove Music. In a blog post detailing the changes, Microsoft's reasoning for the new name appears to be …
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Should you add your birthday to Twitter profile?
SAN FRANCISCO — Twitter users can now show their birthday on profiles — but should they? The social media company made the announcement about the festive new feature in a blog post: "#HBD: Celebrate your birthday on Twitter." Actor and comedian …
Add Your Birth Date to Your Twitter Profile
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Geto Boys member Scarface suffered from an unspecified medical condition that forced the rapper to be hospitalized on June 30th. According to the Geto Boys’ Kickstarter – where the horrorcore trio of Willie D, Scarface and Bushwick Bill are raising money for their new LP Habeas Corpus – Scarface sought medical help following a concert in Albuquerque, New Mexico on June 29th; he entered a Houston, Texas hospital the next day. While the rapper’s exact condition has not yet been revealed, fellow Geto Boy Willie D asked fans to “say a prayer” for the ailing Scarface.
“I am not at liberty to speak on [Scarface’s] condition, and wouldn’t even if I was, as it is a private matter, but I will say that he is in good spirits, and sends his love to all who have supported him throughout his career, and personal life,” Willie D wrote in a Kickstarter update. “Although I’m his bandmate, I’m also a Scarface fan, so I know it’s hard for you guys not having details, but I will try to keep you updated as much as I can without invading his privacy. Thanks and say a prayer for my homey!”
A representative for the group tells Rolling Stone that the rapper has since been released from the hospital and is home resting.
Geto Boys were in the midst of their Office Space Tour – named after the 1999 cult comedy that made clever use of their song “Damn It Feels Good to Be a Gangsta” – when Scarface was hospitalized. In June, the trio revealed that they’d begun work on Habeas Corpus, their first album together since 2005’s The Foundation. To drum up support for their upcoming album, the trio launched a Kickstarter that included perks such as playing a round of golf with Scarface.
“I’d like to take credit, but the fans really made it happen,” rapper Willie D told Rolling Stone of the reunion, adding that relations between the members is still “volatile.” “It’s hard to get all of us on the same page, ’cause everybody’s always doing their own thing. We are three totally different people. We didn’t grow up together. We’re not blood-related. We didn’t go to the same schools, didn’t grow up in the same neighborhood. The one commonality that we do share is being in the group.”
New Bing Maps preview offers new, more useful card motif
Comparisons between Bing Maps and Google Maps slice both ways. Google Maps has arguably grown somewhat bloated, but Bing has lacked some of the conveniences its rival offers. With a preview update offered Monday, Microsoft's offering now has a …
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Late last week, we asked our savvy Hypebot readers to vote and share what they thought of the new Apple Music service and Beats 1 online radio. The results were mixed, though more favorable for Apple Music than Beats 1.
Just under half of Hypebot readers said the liked Apple Music enough to keep paying $9.99 per month when their free trial ran out. Another 1/3rd said “not bad,” but they were not going to be switching after the free trial.
The results were more mixed for Beats 1. Just 37% loved it and would become regular listeners. 63% answered either “its not for me” or that the broadcast would “never find a significant audience.”
Vote below and see more detailed results.
Instagram confirms it's rolling out 1080-pixel images
Since its launch in 2010, the company has limited image picture sizes to 640 pixels by 640 pixels. That's now changing on Android and iOS. by Don Reisinger · @donreisinger; 7 July 2015, 3:26 am AEST. facebook. twitter. linkedin. googleplus. email.
Instagram photos are now bigger and better
Instagram Is Introducing Higher Resolution Photos
Instagram's storing HD images but won't let you see them
A definition of symmetry: On May 5th, 1965, the Warlocks – a San Francisco rock band that would soon rename themselves the Grateful Dead – played their first show at a pizza parlor, Magoo’s, in Menlo Park. Fifty years later, on July 5th, I saw the surviving members of the Dead give their last-ever performance under that name – the third night of their Fare Thee Well stand at Soldier Field in Chicago – in a bowling alley, albeit one with digital scoring and craft beers: Brooklyn Bowl, the Williamsburg flagship of Fare Thee Well promoter Peter Shapiro‘s club franchise.
Unlike my satellite-broadcast experience on July 3rd at Shapiro’s other local TV-party destination, the Capitol Theatre in Port Chester, New York, the long-distance finale was more like a real gig: an all-standing night on a well-packed dance floor, inside an exuberantly participatory crowd. The screens were smaller but everywhere: 11 of them, including eight over each bowling alley. The house sound was a slightly lesser beast than the big rock-show rig at the Capitol but plenty loud and clear.
The fans were a noticeably younger, more demonstrative mix, too than at the Capitol, a reflection of the neighborhood around Brooklyn Bowl and the $15 ticket price. (My balcony seat in Port Chester was $35.) These Deadheads were also largely those who had come to the legacy via descendant bands such as Phish and Umphrey’s McGee, charter figures in the movement that mushroomed, out of grieving and need, after the death of the Dead’s founding guitarist Jerry Garcia in 1995. I was frequently asked, during the night, how I rated the chops and contributions of Phish guitarist Trey Anastasio, standing in the late Jerry Garcia‘s ghost shoes at Soldier Field. The consensus in the room, before I even got an opinion out, was that Anastasio was killing it.
The cumulative effect, from the opening strut and glistening tangle of “China Cat Sunflower” to the double encore – a forward-through-memory sequence of “Touch of Grey” and “Attics of My Life” – was a lot like my long-ago evenings at Wetlands, the fondly missed jam-band church in lower Manhattan run at its height by Shapiro. As the Dead constantly reminded the shouters and dancers at Brooklyn Bowl on July 5th, in songs like “Built to Last,” “Truckin’,” “Days Between” and “Unbroken Chain,” life in this scene and family was designed to endure. “Gonna miss your baby from rollin’ in your arms,” the front line – Anastasio, bassist Phil Lesh, guitarist Bob Weir and pianist Bruce Hornsby – sang with ragged brio and blunt admission early in the first set in “I Know You Rider,” a folk-blues standard about the learning in roaming. But when that chorale flipped the promise in “Touch of Grey” – “I will get by/I will survive” – to “we” in the last choruses, the Bowl crowd cheered and sang along with mutual assurance.
Hymns to the Future
A notion that hovered along the edges of perception over the weekend, then came into focus as I deciphered my notes from the 5th and scanned the set lists from both Chicago and the weekend before in Santa Clara:
The Grateful Dead were the first rock & roll band that I studied with scholarly passion – onstage and shared tapes – because they were the first to promise every night, for 30 years, that anything could happen: in repertoire, improvisation and spiritual exchange. You had to pay close attention to get even a fractional map of their operating universe. The Dead that I saw at Soldier Field, on the screen in Port Chester and Brooklyn – Lesh, Weir, drummers Bill Kreutzmann and Mickey Hart, armed with the kindred spirit and performing empathy of Anastasio, Hornsby and organist Jeff Chimenti – came to play with a different mission: that everything that had passed in that space should happen again one more time. The five shows covered every era and most of the classic material but with a thematic deliberation: the return to the acid-ballroom daze of ’66-’68 in Santa Clara on June 27th; the super-Seventies blowout on July 3rd; the greatest-hits sprawl on America’s birthday; tonight’s reflective solemnity (a rapturously extended “Mountains of the Moon” from 1969’s Aoxomoxoa) and hymns to the future.
Nothing could be exactly the same as it was. The younger men evoked the imprints of the missing – Garcia and the parade of late keyboard players Ron “Pigpen” McKernan, Brent Mydland and Vince Welnick – with their own, inevitable distance. Anastasio, in particular, summoned Garcia’s melodic voice on guitar with a tone that was approrpiately clean and precise but rounder and meatier in its treble. And the discreetly aggressive streak that shot out of Anastasio’s soloing in the guitar-crescendo center of “Estimated Prophet” was more Frank Zappa and Allen Holdsworth than ’77 Garcia. Maybe it was an illusion of the PA mix at the Bowl, but Anastasio and Lesh were the primary, conversing soloists; Weir’s eccentric, dissecting rhythm guitar, a vital wild card in the Dead’s charge and jamming, often seemed to be more backdrop than engine.
But Weir, in commitment and thrill, was the night’s vocal star, kicking aside any lingering doubts about his health and strength. He lit up the Biblical Bo Diddley of “Samson and Delilah” and threw himself into “Throwing Stones” with an ardor that was more fever than pitch – in other words, vintage Dead. It is ironic that in his full, gray beard and untamed hair, Weir, 67, now looks older and more excessively seasoned than Lesh, who is 75 and a survivor of both a kidney transplant and prostate-cancer surgery. Yet the impish, teenage zeal Weir brought to the Dead in 1965 – he was younger then than many of the runaways who descended on the Haight two years later – was still there as he led this band, in Chicago, out of the gorgeous contemplation of “Days Between,” the last song ever written by Garcia and lyricist Robert Hunter, into the jubilant affirmation of Buddy Holly’s “Not Fade Away.”
In the end, though, they left in peace – with the American Beauty jewel “Attics of My Life,” a song of gently insistent gratitude. “I have spent my life/Seeking all that’s still unsung/Bent my ear to hear the tune/And closed my eyes to see,” Weir sang, strumming an acoustic guitar. “When there were no strings to play/You played to me.” It was easy to hear, in Weir’s plaintive vocal and and the supporting harmonies of Lesh, Anastasio and Hornsby, the Dead finally, publically, saying a satisfying thank you to Garcia. It was just as easy to imagine Garcia, who wrote the song with Hunter, singing it in 1970 to a greater good: the America that slowly coalesced around the Dead’s music and outlaw idealism, then survived Garcia and his band. “When there was no dream of mine,” Weir sang before everyone went home, “you dreamed of me.”
The Grateful Dead ended their time as a working band on the very date and ground where their dream came to an unexpected halt, in 1995, with Garcia’s death. But this was not goodbye, just “See you later – and the next dreams are yours.”