All Articles Tagged "lil jon"
Last month, Lil Jon along with other celebrities showed their political support in their Rock The Vote video “Turn Out For What” to publicize the importance of voting.
Today, the state of Georgia learned how important voting is to Lil Jon!
The “Get Low” rapper complained on all of his social media accounts, revealing he never received his requested absentee ballot. Lil Jon noted in a caption, along with the above photo:
“6AM FLIGHT TO ATL TO VOTE BECAUSE GA NEVA SENT MY BALLOT AFTER NUMEROUS CALLS!!! U CANT DISCOURAGE ME! #VOTETODAY@TURNOUTFORWHAT #ROCKTHEVOTE”
We hope Lil’s Jon level of political commitment pushes you to get crunk and vote if you didn’t do so already!
— INSTAGRAM LILJON (@LilJon) November 4, 2014
Lil Jon’s song “Turn Down for What” is a party anthem, but now it’s also a voting anthem, serving as the theme song for Rock The Vote.
The new version of the song is titled “Turn Out for What” and its video features Lil Jon, Girls’ Lena Dunham, EJ Johnson, Whoopi Goldberg, Natasha Lyonne from Orange Is The New Black and other celebrities who explain why they are voting in this upcoming election. Lil Jon will be voting for the legalization of marijuana; EJ for marital equality; Lena for reproductive rights and Natasha for prison reform.
Usually the turn out for midterm congressional elections are lower than presidential years. The New York Daily News says Democrats may lose House seats as well as the Senate because millennial voters are not expected to vote at the same levels they did in 2012.
Watch the “Turn Out for What” video below. Will you be voting on November 4th?
Celebrities are known for saying funny phrases and coming up with some of the most ratchet sayings. And as crazy as they are, we love them so much that we start using them ourselves. Here are some of the funniest and catchiest one-liners these entertainers have introduced into our everyday lingo — and some I’m sure more than a few people are sick of hearing.
Do you Zumba? Well, Lil Jon is hoping to get you doing the fitness craze… in the club.
The King of Crunk, according to Vibe (via The Root), has partnered with celebrity Zumba instructor Gina Grant and will act as the DJ for the new Zumba Nightclub Series that recently launched in Boston. The series brings the Zumba workout to the nightclub scene throughout April, reports Boston magazine,. Lil Jon has even released “Work,” a new single to celebrate the combination of fitness and clubbing. Check it out below. (No word on any impact that yesterday’s incident will have on the events.)
Previously, Zumba has partnered with Pitbull and Don Omar.
According to Billboard, the Zumba Fitness program has about 14 million followers in 186 countries. Now a $500 million-business, Zumba was created by Colombian dancer and choreographer Alberto “Beto” Perez during the 1990s. ICYMI: It involves a mix of dance and aerobics, with choreography pulling moves from hip-hop, soca, samba, salsa, merengue, mambo, martial arts, and some Bollywood, and belly dancing.
Random Kendra anecdote: Due to the slightly restrictive environment I grew up in, I wasn’t introduced to certain music until I went to college. There, I learned of the type of music called “crunk.”
This music defined my first few years of college, and these songs became fixtures in my life as ringtones and common phrases (“That girl said what? Please, she better get on my level! Pssh, what she gon’ do?!”) Crunk seemed like such a heavy force, but it definitely doesn’t seem as dominant as it used to be. So, why don’t we try to find out where some of these crunk music creators and contributors are?
It’s time again. Time for another round of the business reality show The Apprentice; an “All-Star Celebrity” version for this season. And this time around, the cast is dominated by African-American apprentice wannabes, all of whom have been on the show before. On the cast are: Dennis Rodman, Claudia Jordan, LaToya Jackson, Omarosa (who is making a third appearance, sure to ruffle the other contestants with her famous diva attitude) and rapper Lil’ Jon.
This comes to a surprise to Dr. Randal Pinkett, who won The Apprentice in 2005. “I am somewhat surprised particularly given the near-absence of diversity amongst the winners. It will be interesting to see if this season’s diverse cast translates into a diverse winner,” Pinkett tells Madame Noire. Pinkett has proven to be a true businessman, having just inked two billion-dollar government contracts for his company, BCT Partners.
It will be anyone’s guess who wins, but EW is counting out Rodman, Jordan and Omarosa (who recently grieved the loss of her fiancé, actor Michael Clark Duncan). Lil’ Jon and LaToya are “sleepers.”
“This is could be the light at the end of the tunnel for the African-American chance at winning Celebrity Apprentice. [Lil Jon] did a pretty good job last time, and maybe he can do better, especially if he’s not stuck with Gary Busey for too long,” notes The Grio.
If you don’t already know, here’s what at state on what is billed as “The Ultimate Job Interview”: The winner gets $250,000 to donate to the charity of their choice. The show is in its 13th season.
Junior year of high school I refused to buy “Doggystyle,” the revolutionary Snoop Dogg album that set my school abuzz. It was an informal boycott based on the album’s ethos and subject matter – a seemingly nonstop celebration of decadence, violence and promiscuity. My stance lasted for about a month. Then I caved and bought the CD, listened to it faithfully for the rest of the year and kept it in regular rotation thereafter. Musically, it was near-perfect, and even if I disagreed with what Snoop was saying, I couldn’t bring myself to dislike the way he was saying it.
And so we come to my central dilemma with hip-hop, a complicated love/hate relationship that finds me scolding myself for enjoying music – on the surface, at least – that often clashes with my personal values.
Case in point: Last year, I bought the ringtone to Waka Flocka Flame’s “No Hands” against my own better judgment. The song concentrates exclusively on watching a stripper remove her panties — sans hands. At one point in the song, he even talks about running a train on a female.
But there’s that monstrous, gargantuan beat from Drumma Boy, and that captivating chorus from Roscoe Dash that turns women into sex objects but manages to entrance a self-respecting woman who should know better. I would be appalled by the excitement I feel when this song comes on in the club if I wasn’t so busy dancing. It’s only afterwards that I’m left feeling guilty and ashamed, like I just ate a carton of ice cream while watching “Jersey Shore” reruns.
It’s a similar situation with Lil Jon’s “Get Low.” Although the entirety of the song deals with females bending over and shaking their asses while Lil Jon and his posse of Eastside Boyz spew vulgarities and implore women to drop it to the floor, I essentially become a woman possessed when I hear this in the club; I’m liable to burn off my entire daily caloric intake before the song is over.
And then there’s Weezy. I appreciate Lil Wayne’s wordplay, but I often feel the need to shower after listening to his songs, which typically involve lewd descriptions of random sexual relations with some female, somewhere. “Now jump up on that d— and do a full split” Weezy instructs on “She Will.” Thanks, but she won’t be doing that anytime soon.
In spite of myself, I love Young Jeezy’s “I Luv It,” a song that revolves around drug dealing and its so-called financial rewards. I also love Jay-Z’s “Big Pimpin.” I don’t want to ever not love it. I don’t want to overthink it to the point that I can’t enjoy the song. But at what point do I draw the line, say enough is enough, and decide not to sing along while rappers call us b—–s and h—s, glorify destructive lifestyles and turn the very real social ill of pimping into a punchline?
Am I supposed to excuse, for example, Clipse’s morally bankrupt tales of cocaine-slinging because they’re lyrically brilliant, and because I personally understand the conditions that leave black men feeling like drug dealing is their only escape from poverty?
Hip-hop is my favorite genre of music. Always has been, and probably always will be. While R&B from the late ‘60s and ‘70s spoke to the promise of a post-Civil Rights culture enjoying new freedoms, hip-hop was the outgrowth of broken promises, of crack-infested inner cities realizing that while old forms of oppression had fallen away, new ones had taken their place, and they often came from within: the pimp, the pusher, the player, seemingly inescapable cycles of violence and poverty.
I have defended hip-hop early and often, spouting its virtues to relatives who only know hip-hop as a Nelly song, or jazz music professors who deem it universally “aggressive” and don’t understand that rap music is, in fact, a direct outgrowth of jazz, and aggressive content is only one aspect of a much larger, more nuanced picture. I’ve spent hours explaining, educating and making and listening to suggestions of those who think hip-hop is comprised entirely of promiscuous criminals and weed-smoking thugs.
But I’m tired of having to defend hip-hop. Tired of having to serve as a rap-to-real world translator for people who simply don’t understand the culture and see only its top layer. Tired of realizing that more and more, mainstream hip-hop is becoming that one-dimensional portrait of a black criminal or a self-absorbed hedonist, a misogynistic caricature that record companies and radio stations seem all too happy to depict and rappers seem all too willing to embody in exchange for a paycheck.
I love what hip-hop stands for in its essence: freedom, self-expression, the will to fight and overcome oppression. It emerged as the culture of the forgotten and the disenfranchised, the voice of a people that previously had none. It is the purest form of urban journalism: Chuck D of Public Enemy once called it the Black CNN.
I love hip-hop’s rhythm and its cadence, its wit and its charm, its anger and its defiance, its boldness and its swagger. I will continue to blast “Doggystyle” from my car speakers as I glide down the highway and rap gleefully along with every word. I just wish I didn’t have to temporarily stash my values on a shelf in the process.
Ladies, do you have a love/hate relationship with hip-hop? Let us know in the comments.
Lauren Carter is a writer, blogger and hip-hop head from Boston. Follow her on Twitter @ByLaurenCarter.
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(Atlanta Business Chronicle) — The latest talk swirling around the financially ailing Atlanta Thrashers has the team possibly staying in Atlanta courtesy of – wait for it – Atlanta hip hop artist and producer Lil’ Jon and big-time film and TV producer Jerry Bruckheimer, reports Atlanta Business Chronicle broadcast partner WXIA-TV. Might sound a little out there, but Bruckheimer has pockets deep enough to buy the team and several others, and Lil Jon, a big success in hip hop, and who has made many new fans courtesy of his run on the most recent installment of “The Apprentice” television show, has loved Atlanta hockey for years going back to the Atlanta Flames.
(Hollywood Reporter) – An African-American political advocacy group is targeting “Celebrity Apprentice” star Donald Trump in the aftermath of what many feel are racially tinged political comments made about President Obama. On Thursday, the organization ColorOfChange launched a Twitter-based campaign to persuade black “Celebrity Apprentice” cast members Star Jones and Lil Jon to denounce Trump for what the group terms “race-baiting.” Trump has made headlines in recent weeks by repeatedly questioning whether Obama was born in the U.S. Obama released his longform birth certificate April 27 with the hope of settling the matter, but the issue has been kept alive by a segment of the “birther” movement.
(Forbes) — The hip-hop artist on building brands and achieving music success.