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French Montana Confirms Miley Cyrus Collaboration, Says Reebok Should Have “Taken It Light” On Rick Ross

By: Keith Nelson Jr (@JusAire) Updated Category: Headlines
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(AllHipHop News) It seems that Miley Cyrus’ New Years resolution was to enter Hip Hop. In his interview with MTV Hive, the Moroccan rapper confirms that the two have been in the studio together.

According to the rapper, the pair linked up at Clive Davis’ Grammy party back in February and united over shared inebriation:

That’s my dog. That’s my peoples. We became friends at the Clive Davis Grammy party. I was sitting there with Puff. She was sitting there with Wiz [Khalifa]. She just kept looking at me laughing, I kept on looking at her laughing. I said, “What you laughing at?” She said, “I know you high like me.” After that, we became mad cool. I went over to the studio, just kicking it.

Montana also reveals that the video for his upcoming collaboration with The Weeknd, entitled “Lifted” will begin shooting next week. His collaboration with Wale, “Back to Ballin” off Wale’s Folarin mixtape will be released soon and is reportedly shot by comedy collective Funny or Die.

The MMG-affiliated MC also spoke on Reebok’s recent decision to remove Ross as their spokesman:

I feel like a lot of people did worse than that and people didn’t judge them. They could’ve taken it light on him, understanding that it was a mistake. People make mistakes; we all human. That’s about it. As far as Ross, I know him personally. I know he’s a great guy. He’s like a big brother to me and I’m a big fan of Reebok. I can’t wait for them to cut me one of them big checks.

French Montana’s Bad Boy debut album, Excuse My French is set to be released on May 21st.

[ALSO READ: French Montana Joins Lil Wayne’s America’s Most Wanted Tour]

Check the Excuse My French tracklist below:

1. Once In a While (Feat. Max B)
2. Trap House (Feat. Birdman & Rick Ross)
3. Ain’t Worried About Nothin
4. Paranoid (Feat. C.A.S.H.)
5. When I Want
6. F**k What Happens Tonight (Feat. DJ Khaled, Mavado, Ace Hood, Snoop Dogg & Scarface)
7. Gifted (Feat. The Weeknd)
8. Ballin Out (Feat. Jeremih & Diddy)
9. I Told Em
10. Pop That (Feat. Rick Ross, Drake & Lil Wayne)
11. Freaks (Feat. Nicki Minaj)
12. We Go Where Ever We Want (Feat. Ne-Yo & Raekwon)
13. Bust It Open
14. Drink Freely (Feat. Rico Love)
15. Throw It In the Bag (Feat. Chinx Drugz)
16. Marble Floors (Feat. Rick Ross, Lil Wayne & 2 Chainz)
17. Ocho Cinco (Feat. MGK, Los, Red Cafe & Diddy)
18. If I Die

Kendell “Young Sav” Freeman Appointed Vice President of Maybach Music Group

By: Keith Nelson Jr (@JusAire) Updated Category: Headlines
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(AllHipHop News) Former Def Jam Records Mixshow Manager Kendell “Young Sav” Freeman has been appointed the Vice President of Maybach Music Group effective immediately.

Freeman, who has worked closely with Ross on his solo projects in the past at Def Jam Records, will oversee all MMG operations out of the company’s New York office. In a press release, Young Sav expresses his gratitude for the new position:

“I am extremely excited to embark on this new path in my career. I appreciate Ross for noticing my grind, work ethic and giving me a major opportunity to not only be apart of this label, but also help execute his vision. It’s going to be a privilege to work with the brand and assist in taking it to the next tier. All of the artists on the roster are amazing. I’m ready to get to work.”

In the press release for the announcement, Ross touched on his personal relationship with Sav and his work ethic:

 “Feels great calling one of the hardest workers and few people I consider a close friend the new VP of MMG.”

Shawn “Pecas” Costner, the Senior Vice President of Def Jam Records describes Sav as “one of a kind” and asserts that his “talent and knowledge helped redefine the lifestyle approach to marketing and promoting some of the biggest names in Hip-Hop.” Besides Ross, Sav has worked on projects by artists such as Jay-Z, Trinidad James, Big Sean, Lil John along with an extensive list of other high profile artists over the past decade.

Freeman will continue to collaborate with Def Jam Records on Rick Ross’ solo projects.

The Best After 25 Years? Public Enemy’s “It Takes A Nation Of Millions To Hold Us Back” Still Sets The Bar High

By: Chuck Creekmur (@ChuckCreekmur) Updated Category: Headlines
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This piece originally ran on TheGrio.com in celebration of the 25th Anniversary of  “It Takes A Nation Of Millions To Hold Us Back” and Public Enemy’s looming induction into the Rock-N-Roll Hall of Fame this year.

The greatest hip-hop album ever was made 25 years ago this month.

Its title alone speaks volumes: It Takes A Nation Of Millions To Hold Us Back.


At the time, it was a metaphor for African-American people, a nod to the systemic racism plaguing America, but for others, it also represented the uphill battle Public Enemy faced.

The album was crafted at a time, 1988, when hip-hop had no boundaries and every landmark album was groundbreaking. But Public Enemy broke ground that went clear through to the other side of the world when they made It Takes A Nation Of Millions To Hold Us Back. The album is what we call a Magnum Opus (Latin for ‘great work’).

The beginning of Public Enemy’s world dominance

PE’s second album, It Takes A Nation boasts one of the slickest intros, but it forecasted what was to come — world domination.

It Takes A Nation kicks off from a recording in London, while the Long-Island-born group toured the world on the 1987 Def Jam tour. They were informing America that they had already been approved by the world and now it was America’s turn.

Of course, hardcore hip-hop heads had already embraced their first album, Yo! Bum Rush The Show, but this was special.

theGrio: Why doesn’t hip-hop respect its elders?

Since the beginning, hip-hop has hinged on endless circular discussion of “Who is the best?” “Who had the best album?” or “Who is the best emcee ever?” They echo to this day. Pondering the best is a true cornerstone of hip-hop and opinions are fact to the person who holds them.

So, let’s discuss this album in that regard. At the time if its release, the album was heralded as the best album of 1988 by the Village Voice‘s celebrated Pazz & Jop Critics Poll, a first for a rap album. It was also ranked number 48 on Rolling Stone magazine’s 2003 list of the 500 greatest albums ever made. No other rap album was held in higher regard.

Additionally, NME, Vibe, and AllHipHop.com also agree: This is the one. Across all musical barriers, the album is beloved. Twenty-five years doesn’t diminish this classic.

It Takes A Nation means different things for different people.

For the hip-hop audience, it represented a musical revolution and an insurrection of the mind of its listeners as well. Suddenly, hip-hop morphed into something that offered socially-relevant content that was overt, brash, abrasive, and jarringly proactive. That was Public Enemy. “Bring The Noise” was like a call to action, as front man Chuck D bellowed “Bass! How low can you go?” on the album’s lead song. Other songs pushed themes of Black Nationalism, community unity and offered an overall smorgasbord of rebellion. This was bigger than hip-hop.

Middle-class white kids looking for an outlet were also attracted to the Public Enemy movement thanks to It Takes A Nation. Gradually, they pushed it to platinum status over a year after its release. In the 80s, many of those kids were impressionable and hip-hop, a fairly new phenomenon, helped open them up to different ideologies and thinking. But this perfect storm cannot truly be discussed without delving into the music.

Click here for the rest of Public Enemy’s ‘It Takes A Nation Of Millions To Hold Us Back’ still powerful 25 years later.