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Rapper Bow Wow Reveals His Shocking Struggle With Addiction Amid Mac Miller’s Death

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Mac Miller’s tragic overdose took the world by surprise on Friday (Sept. 7). Many paid their respects to the late 26-year-old rapper in their own ways. J. Cole broke down and dedicated “Love Yourz” to his friend and even urged anyone going through to reach out to the KOD emcee.

Bow Wow took the moment to uncover his own struggles with drugs. The Ohio native begged his fans to “stop with these dumb a** drugs.” He admitted that when he and Face Off co-star Omarion were filming the BET mini docu-series Road to Platinumthat he was “high off lean every day” and “high off promethazine codeine.”

  1. DESPITE NOT PROMOTING LEAN IN HIS MUSIC, HIS FANS AND FAMILY TURNED ON HIM. HE EVEN ADMITTED THAT DURING THE UP CLOSE & PERSONAL TOUR, HE WAS “SIPPING AT LEAST 7 TIMES A DAY.”He “was addicted until [his] Cincinnati show,” when he got off stage, “passed out [and] woke up in a hospital, having withdrawals.” He missed two stops on that tour because he was “high and sick.”
  2. “THAT SHIT IS NOT COOL AND I WAS DOING IT TO BE COOL,” HE CONTINUED.Bow admitted that he “almost died f**king with syrup.” His anger on the show was fueled by the drugs and they “[tried] to protect the truth by saying [he] was dehydrated.”
  3. “WE CAN’T LOSE NO MORE OF YOU. DON’T FOLLOW A TREND. BREAK THE CYCLE,” HE PLEADED.It’s not easy to admit addictions, but it is the first step to recovery. Hopefully, these situations are a wakeup call to anyone battling substance abuse. Check out the epiphany below.

Sourced from BET.

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Interviews

Cardi B comparison is good, but I don’t care – 18 year old rapper JanexMara

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With her debut single yet to go public, rapper Amarachi Jane Ibe aka JanexMara is drawing attention to herself after posting a clip of her studio session on Facebook and Instagram.

With hip-hop lovers tagging her the future of the industry because of her style and punches, JanexMara is looking forward to matching people’s expectations, saying that she doesn’t really care about the hypes because she knows it will come.

“Attention is normal, but all I want to do is educate, entertain and inspire with my music”, she said.

“People are now comparing me with other artistes; I heard someone call me Nigerian Cardi B, but that’s not the issue, I’ve been rapping before she became a hit and this is my style and original stuff. I’m so surprise about the Cardi B stuffs because while I was in secondary school, my class mates called me Nicki Minaj during freestyle sessions”

“This is what I have always wanted to do and getting this opportunity now is something I am never going to blow away”

Admitting that it will be challenging to knock off other artistes to go top, JanexMara said knowing that females have succeeded as rappers is even a motivation than challenge.

“I appreciate other ladies who have been doing this before me, but I guess they have to open the door for me to come in because I deserve it. They have motivated me and it is time for me to do same to others”

“I believe in my abilities and I thank God that I’m working with a group of people who believe in me especially my parents and management. They all trust me to do this and there is no stopping till I get there”, she said.

As her debut single is set to drop, the Ehime Mbano Local Government Area of Imo State born artiste believes she has what it takes to be the best rapper in Nigeria and beyond, but revealed that one thing that’s also important to her is getting tertiary education.

“I want to go to school and that’s what I will be achieving alongside greatness in music. I want to be schooling while running music and by then I should be international”, she said ahead of her debut single ‘Like That’ which is produced by Yung Roc.

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Artists NewsInterviews

Video : CIA Agent Confessed Killing Bob Marley

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79-year-old Bill Oxley, ex-agent of America’s Central Intelligence Agency (CIA) is re-writing the history of the death of reggae legend Bob Marley, claiming he actually killed the legend. Marley tragically died aged only 36-years-old, leading music lovers world-wide to grieve as the Jamaican icon’s life and career were cut short following a four-year battle with cancer.

The story of cancer may seem untrue as startling claims have emerged from a deathbed confession made by an ex-CIA officer, where he admitted to the killing. Oxley is alleged to have claimed the murder of Marley among 17 other assassinations for the American government between 1974 and 1985, at a time when he said the CIA “was a law unto itself.” Oxley, who reportedly worked as an operative for the CIA for 29 years, is alleged to have said he was often used as a hitman on targets deemed to “represent a threat to the interests of the United States.” In a purported interview shared widely online, he admitted having no problem with proceeding with the Bob Marley assassination because “I was a patriot, I believed in the CIA, and I didn’t question the motivation of the agency – I’ve always understood that sometimes sacrifices have to be made for the greater good.” According to the conspiracy theory, Oxley used faked press credentials to gain access to Bob Marley at his Blue Mountain retreat; introducing himself as a famous photographer working for the New York Times, and gave Bob Marley a gift. “I gave him a pair of Converse All Stars. Size 10. When he tried on the right shoe, he screamed out ‘OUUUCH.‘ “That was it. His life was over right there and then. The nail in the shoe was tainted with cancer viruses and bacteria. If it pierced his skin, which it did, it was goodnight nurse.”

Bill Oxley, ex-CIA agent and self confessed killer of Marley “There had been a series of high-profile assassinations of counter-culture figures in the United States in the late sixties, early seventies. By the time Bob Marley’s time came around, we thought subtlety was the order of the day. No more bullets and splattered brains.” Mr. Oxley says he kept close contact with Marley during the final years of his life, ensuring the medical advice he received in Paris, London and the United States “would hasten his demise rather than cure him.” “The last time I saw Bob before he died he had removed the dreadlocks, and his weight was dropping like a stone,” he says. “He was very withdrawn, unbelievably small. He was shrinking in front of us. The cancer had done it’s job.” Although widely dismissed as fiction, the account does tally with findings by UK scientists in 2014, who discovered the mysterious acral melanomas – the rare type of skin cancer that caused reggae musician’s demise – was in fact not caused by the sun. Bob Marley’s soon Ziggy has previously implied his Father was killed, saying in a 2013 interview about the death: “I don’t know what to believe … there are a lot of theories.” In the late 1970s, Jamaica was flooded with cheap guns, heroin, cocaine, right-wing propaganda, death squad rule and, as Grenada’s Prime Minister Maurice Bishop described it three years later, the CIA’s “pernicious attempts [to] wreck the economy.” “Destabilization,” Bishop told the emergent New Jewel Party, “is the name given the most recently developed method of controlling and exploiting the lives and resources of a country and its people by a bigger and more powerful country through bullying, intimidation and violence.” In response to the fascistic machinations of the CIA, Marley wove his lyrics into a revolutionary crucifix to ward off the cloak-and-dagger “vampires” descending upon the island. The CIA, which has denied any involvement in Marley’s death, has been approached for a comment. NAN

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Video : How Teddy Riley Helped Michael Jackson Return To Pure R&B

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What does the pioneer of New Jack Swing do when Michael Jacksoncalls him up out of nowhere? He answers the phone and packs his bags. In 1990, Teddy Riley got the call of a lifetime. For the next year, he’d be working side-by-side with the King of Pop on what would be his Dangerous album—the last body of Jackson’s work that would not be overshadowed by allegations of misconduct.

On what would have been MJ’s 60th birthday, Teddy Riley reflects on Popeyes, fake fireplaces and the difference between a hit and a smash.

BET Digital: So, as the story goes, one day you just end up in a studio with Michael Jackson…

Riley: It felt that way! [laughter]. I got this call—which I was not expecting at all. I found out later Michael was actually looking for me to produce Bad a few years beforeBut I never got the message so he thought I just didn’t want to work on the project. He’s getting ready to do this next album which will become Dangerous. We get on the phone and I’m shocked but of course I’m like, yes, let’s do it.

How do you prepare for this? Michael Jackson is not working the one-and-only Quincy Jones. He’s working with you. How do you wrap your head around it?
I really didn’t have time to over think it. I was extremely nervous. But I had to just go. It was like midweek when we spoke for the first time. He asked me to come out on Saturday. That Saturday!

But how do you say, “nah, can’t come.”
I had to. I said I’m sorry. I can’t come this Saturday. I won’t be prepared. He said, what about next Saturday. I’m thinking I need more time than that but I don’t want to say that. I said sure, next Saturday.

He was OK with that.
He’s like, Yes, I can’t wait! Then he said Teddy, I need your number! Can I call you tomorrow? And I said Michael, you can call me any time you want. [laughter.] It was a good start.

Studio food. Go.
That’s easy: Popeye’s and KFC.

Annoying studio rules. Go.
The studio had to be hot! Heat cranked up. Separate heaters all over the place. And a humidifier to keep the air moist. I was always burning up. But he needs what he needs. I get it.

A journalist recently said that Michael danced in the studio to a song as it was being produced.
Yes, that’s true. If he could feel himself performing to it, he’d have a better idea of how it would work—or if it would work at all.

Did you ever feel the pressure of the previous albums?
I wasn’t walking into the studio to make another Thriller. And I wasn’t going in there to make another Bad. I was there to make a great album with one of the greatest artists of all time. He asked for me. I got over the shock. Got out there to LA and I was ready to go.

What songs did you bring with you to LA?
“Remember The Time”. I had the hook and I knew where it was going. I had this wild relationship at the time. The chorus and the hook is based exactly on how that relationship went down. So I brought that with me. I knew it was special.

His vocals on “Remember The Time” are really pristine… That’s what makes the record.
Absolutely. It was nuts. I didn’t know he was gonna bring it like that. He gave 100 percent to everything, but things really clicked vocally for that track. We could just feel it.


Which track on the record was more Michael than anyone else?
“Will You Be There” was heavy on his influences. The idea of the choir was all him. It made me want to use a choir too.

Is it true that you discovered he had a really deep voice during the sessions?
He has a naturally deep voice. I didn’t know that. But he has a flawless falsetto and his vocal coach Seth Riggs told him to always speak in a high voice to protect his voice. He had to speak high pitched at all times in order to hit the notes he wanted to hit.

What’s your thought process as you both work on each song?
Very simple. This was a Black album. Made for, about and by Black people.  I’m just saying it straight out—I brought him back to R&B music. That was the goal. That’s what we both wanted. Of course, we wanted the best record possible for everyone including pop fans. And they never stop calling him The King of Pop. But “Remember The Time” and “In The Closet”? You didn’t hear those kinds of songs on pop radio. I brought Michael Jackson back to R&B and then we brought the pop audience to this R&B record.


Is it his last good record?
It is. And I don’t have a problem saying that. It’s not disrespectful. It’s a fact. It would be disrespectful to say it wasn’t. This was over four months of work. This was over 50 songs recorded. This was working with an absolute perfectionist—

A perfectionist with hidden doors inside of fake fireplaces in his house…
Exactly! A perfectionist who didn’t want you to leave. Ever! He built me a shower and a bedroom right in the studio. Literally. Now, I had a hotel reserved with several rooms. But I lived in the studio for four months.

When you were working on “Remember The Time,” he left halfway through…
He said he would be right back. I’m working on the song. I’m waiting for him to come back and finish his vocals. He calls me and I ask him when he’s coming back. He’s on a plane going to Switzerland! I thought he was in the studio somewhere!

So, then it was time for you to get some rest?
NO! I told him I was going to go back home until he came back. He said no. He said he would fly my friends and family out, put them up in hotels, rent cars. I could hang with them in California. And then get back to work when he returned. He did not want me away from that studio. He came back a few weeks later, picked me up himself from the hotel—and we finished “Remember The Time” that same day.

Vocally, what did Michael struggle with?
Nothing. But I will say he had to get himself amped up to scream on a record. To really let loose. He would go in to the booth alone. And start laying down vocals. When the vocals needed to get really intense, you could hear him throwing stuff and really trying to get in the zone.


You only had a few songs approved at the halfway point. What happened?
He wanted me to do some interviews and I told him it was too early in the process to talk about the album. And he said, no it’s not. Here’s a list of what’s on the album so far. And I see “Remember The Time,” “Jam” and “In The Closet” and we haven’t even finished any of them. And I’m thinking, where are all the rest of my songs? So I got busy. I started on “Can’t Let Her Get Away,” which I also had ideas about before we started. Then I worked on “She Drives Me Wild,” and things started to come together.

How would you know when he was really feeling a track?
He would just nod his head and be like, that’s a keeper. And then he would talk about the difference between a hit record and a smash record.

Is there a difference?
Michael always said a hit record would get onto the charts for a week or two. A smash record was on the charts for at least five weeks, usually more. He wanted smashes not just hits.

Is there a record that you still wish was on Dangerous that didn’t make it?
Just one. “Joy.”

But that ended up being a smash for Blackstreet. Don’t you feel it was meant to be there?
Nope. [laughter] It belonged on Dangerous. But I am glad it didn’t just end up not being recorded at all.

How did Michael know when the album was done?
It took a long time. He just kept recording and re-recording and trying to choose the best tracks. Finally, he gave it to Quincy Jones to listen. I think Michael needed that. Even if he didn’t officially work on the record, it’s still Quincy. His opinion mattered.

So, what did Quincy say?
He said it was a masterpiece.

Did Michael think it was going to do huge numbers?
Before we mixed the record, he sat me down and told me the album was going to move 20 million units in the first two months.

Did that seem likely?
I mean, it’s Michael Jackson, so anything’s possible, and I definitely believed in the project. But it was pretty early on. We hadn’t yet turned it in to the label. So, it was hard to say. The album was released and seemed to be doing well. And then my birthday came.

What happened?
The day before my birthday Michael called me, I was at home. And he told me he was sending me a birthday present and it would be there the next day. So, the next day, the present arrives. It’s a plaque from the RIAA, certifying 20-million units sold for Dangerous. The guys in the studio went nuts. It was really special.

Dangerous has sold 32 million worldwide. And yet, the year after the release, it won only a single Grammy—for engineering. What was up with that? Politics?
Politics, yes. I can’t get into the politics, because it involves people I know and still work with. But put it this way. Rick Rubin wrote me a letter—a handwritten letter. He said none of the Grammy categories we lost to had better songs than we had on Dangerous. He just wanted me to know as a fellow musician and producer that it was clearly politics involved.

How do you work on anything else after a project like Dangerous?
I approach it like I’m working with Michael! I’m finishing a few projects right now, including a new Blackstreet album. If a project doesn’t excite me the way working on Dangerous excited me, I’ll pass.

How would Dangerous perform if it dropped today? In the streaming era.
It will still knock out everything that’s dropping right now.

That’s hard to fathom. People don’t absorb music as a complete body of work.
It doesn’t matter. You play “Remember The Time” for the first time anywhere—right now. People will connect to that song. Period. It’s timeless.

What’s life after Dangerous?
It’s no different. It was the best project in the world for me. It’s the project that I judge others on. It’s made me picky. But I’m the same person. Just like he was the same person. He remained my friend until the end. I sent him my song “No Diggity” while I was working on it and he called me and said it was a smash–not just a hit. And he was right. I know things are different now. I’m in my 50s. And I’ll come right out and say it—some of these new artists will drive you crazy! They are caught up in their own hype, and they think they are already on MJ’s level and they are working on a Dangerous type of album. But we’ll never have another Michael, which means I won’t make another album like Dangerous. But that’s OK. Because it’s here. And music is forever.

Credit to Aliya S. King.
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