The Game has been a mainstay in the world of Hip-Hop since his emergence in 2005. His consistency is commendable. While there may be many varying opinions about the way he goes about handling his business, from his use of name drops to the high number of guests on his albums, it's still undeniable that more often than not Game goes off on a rap and delivers some of the best stuff out. On Blood Moon: Year of the Wolf, Game does something different from his norm, this time aiming to spotlight his own crew Blood Money Entertainment.


Point of No Return
is the sixth album from Keyshia Cole and amidst 11 tracks, she lets loose. It is steeped in expressive candor. The Keyshia featured here is frank, direct and pulling no punches.


Everything that entertains you isn't meant for pure entertainment. Kill The Messenger a new film by director, Michael Cuesta tells the story of journalist Gary Webb. He's a good natured man, a hard worker and a family man. Like any other man he's made some mistakes but his best days are ahead of him. Webb works for a small market daily publication in San Jose called the Mercury News, but he has aspirations of being more and doing more.

From a New York Times best-seller erotica novel to the big screen, the movie Addicted is a highly anticipated box office blockbuster. Director Bille Woodruff and a star-studded cast bring to life in vivid color this black and white page-turner that has everyone talking. The movies’ tumblr page says, “Addicted is a sexy and provocative thriller about desire and the dangers of indiscretion. Successful businesswoman Zoe Reynard (Sharon Leal) appears to have attained it all - the dream husband she loves (Boris Kodjoe), two wonderful children and a flourishing career.  As perfect as everything appears from the outside, Zoe is still drawn to temptations she cannot escape or resist.  As she pursues a secret life, Zoe finds herself risking it all when she heads down a perilous path she may not survive.”(1)

Parlé Magazine sat down with Bille Woodruff to get to know the man behind the scenes before Addicted is released in theaters nation-wide on October 10th.


Music lovers, R&B singer/songwriter Eric Bellinger released his new mixtape, Choose Up Season on October 1. He wants all his fans to know that if you’re single and like to mingle, then these tracks were written especially for you. It’s not about catching feelings and falling in love (that will come later). In short: It’s about gettin’ in where you fit in and kickin’ it together 'til the wheels fall off that thang with no strings attached. The take away is Bellinger knows that single life can oftentimes be overrated and at some point, everyone wants a partner to go through life with; but until that day comes – just choose up.


Stepping out of the shadows of her ex-husbands’ success, Torrei Hart is hell bent on making a new name for herself. She’s much more than just Kevin Hart’s ex-wife, and she wants to make it clear. First and foremost, she’s a mother, but she is also an actress and she’s also passionate, spiritual, driven, straightforward and a mogul in the making.

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Every week there is a new bunch of freestyles.  But seems there is no one reviewing them.  So introducing... 

Freestyle of the Week reviews

The best Riff Raff cuts juxtapose his absurd lyricism with a sense of sybaritic danger; think the slow-burn smolder of "Bird on a Wire." To that end, Kirko Bangz's "Shirts By Versace" seemed destined for Jody Highroller appropriation, with a dreggy sound that snakes and sparkles like a Caraquenian disco ball.

Read more: Freestyle of the Week Review: Riff Raff, "Shirts By Versace Freestyle"

Left recently on the killing floor of a mid-size Southern newspaper's editorial abattoir was a particular description of Chicago native Chance the Rapper's vocal stylings which I felt to be particularly apt: that he takes to the beats like a coursed hare.

Read more: Freestyle of the Week Review: Chance The Rapper, Sway in the Morning Freestyle

Despite abutting, as it does, a review/essay--predominantly essay--on Rick Ross' freestyle treatment of the very same song, one would not expect to find much in the Game's rendition, by way of comparative analysis. This is because, for most of his career, Game has occupied roughly the same end of the Voice-Skill spectrum as Rozay, hovering comfortably closer to the former rather than the latter.

Read more: Freestyle of the Week Review: The Game, "Bitch Don't Kill My Vibe Freestyle"

To fulfill the titular obligations of this column, let us address Rick Ross' freestyle upon Kendrick Lamar's "Bitch, Don't Kill My Vibe":

Read more: Freestyle of the Week Review: Rick Ross, "Don't Kill My Vibe"

The most striking imagery from Drake's "Started From The Bottom" visuals--edging out a bevy of comely, Isis eyelinered women and a preponderance of ridiculous dances, including a spiraling, hand spinning, maple-leaf-in-an-updraft maneuver and a high stepping, elbow locked march suspended above Toronto in front of a black and gold, owl emblazoned billboard--comes early; Drake and a topless Bentley, white as a blank page, white fur, white pants, white shoes, white shirt, gleaming silver jewelry, creeping along the road in a manmade cacophony of too perfect snow, moving fast while the skeletal branches in the background remain still.

Read more: Freestyle of the Week Review: Spenzo, "Started From The Bottom Freestyle"

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