Big Jinx Leavin' a Mark on the Streets from DMX to the LOX, Yonkers

Total Page：16

File Type：pdf, Size：1020Kb

Big Jinx Leavin' a Mark on the Streets From DMX to The LOX, Yonkers has produced some of the hardest-hitting MC's to be unleashed on the music industry. Big Jinx, a Y-O native and protégé of DMX, looks to follow in that tradition whilst carving his own mark into the rap game. Growing up in Yonkers, Jinx was forced to endure every peril that his neighborhood's harsh streets could rally. This rough upbringing hardened his resolve and later became the heart and soul of his lyrics. Once he had decided on his musical career, Jinx used this same tenacity to establish a following for his music. Jinx's buzz did not go unnoticed, and multi-platinum artist DMX soon took him under his wing. Their similar perspectives on the state of Hip Hop and life on the streets have helped to generate a bond of respect between Jinx and X which runs deeper than just music. Big Jinx ultimately inked a deal with X's label, Bloodline Records, which included distribution through Def Jam. The first release from the Bloodline/Def Jam venture was the soundtrack to the hit film Cradle 2 the Grave. Jinx’s dedication to his craft paid off, and his song "It's Gon' Be What It's Gon' Be" was featured on the soundtrack along with tracks from multi-platinum artists such as Eminem, 50 Cent, and DMX. This release went on to sell several hundred thousand copies and was certified gold by the RIAA. Jinx has also appeared on DMX's fourth album, The Great Depression, which topped the charts at number one. The Yonkers native was featured alongside fellow Bloodline artists Big Stan and Kashmir on "The Kennel." Currently, Jinx can be heard on the hit single "Blown Away" from DMXs brand new Sony release, Year of the Dog...Again. Putting in work on multi-platinum albums and soundtracks for Hollywood blockbusters has only caused Jinx’s commitment to his craft to grow even greater. He has maintained his buzz through constant touring, including last year’s successful European tour with DMX and the Bloodline Kennel. The talent possessed by Jinx is inherent and God-given, as exhibited by his lyrics, "I woke up to something telling me / could've been a melody / to write verses heavily / or maybe it was heavenly." He has already collaborated with heavy-hitting producers like Dame Grease, Black Keys, Dutch, and Divine Bars, and even more triumphs are on the horizon. Be on the lookout for Jinx's upcoming solo projects as well as his work on the Bloodline compilation. "So if you see me in my battle stance, you don't really have a chance" -Big Jinx .

Copy Link

Recommended publications

Looking for a Rembrandt DMX, Li Dig Own “Grave”
Page 26 THE RETRIEVER WEEKLY FEATURES March 11, 2003 Looking For a Rembrandt from EMPORIUM, page 21 didn’t make enough for her to quit her Ale tap, old bullets, a bobby whistle, a job. She just wanted to sit on her ass and one dollar bill selling for $2, a bright eat bon-bons all day, I guess.” green yo-yo, and a dead sea horse, old Buchheister is a man who obviously medals, a black and white picture of a loves his job. “I love all of it. It’s a con- soldier and dozens of other small trin- glomeration of stuff and people and it kets. makes things interesting.” There are neon beer signs for the One of the things that a visitor can stylish frat boy and bound copies of The easily tell is that Buchheister enjoys the New York Times Book Review from people he meets and the stories he can 1907, 1908 and 1913. Stacked on other tell. As we talk, a small white, curly- old books (which don’t sell well because haired dog walks by the window. “There “No one in this town can read”) are goes the recycling dog,” says Playboys wrapped in plastic. Buchheister. According to Buchheister, There is an Army jacket worn by every time the dog’s owner takes it for a someone named Swenson, boxes and walk, the dog will pick up a bottle or can boxes of framed paintings and photo- and take it home with him and put it in graphs, a velvet tapestry of Elvis going the recycling bin.
[Show full text]
First-Run Smoking Presentations in U.S. Movies 1999-2006
First-Run Smoking Presentations in U.S. Movies 1999-2006 Jonathan R. Polansky Stanton Glantz, PhD CENTER FOR TOBAccO CONTROL RESEARCH AND EDUCATION UNIVERSITY OF CALIFORNIA, SAN FRANCISCO SAN FRANCISCO, CA 94143 April 2007 EXECUTIVE SUMMARY Smoking among American adults fell by half between 1950 and 2002, yet smoking on U.S. movie screens reached historic heights in 2002, topping levels observed a half century earlier.1 Tobacco’s comeback in movies has serious public health implications, because smoking on screen stimulates adolescents to start smoking,2,3 accounting for an estimated 52% of adolescent smoking initiation. Equally important, researchers have observed a dose-response relationship between teens’ exposure to on-screen smoking and smoking initiation: the greater teens’ exposure to smoking in movies, the more likely they are to start smoking. Conversely, if their exposure to smoking in movies were reduced, proportionately fewer teens would likely start smoking. To track smoking trends at the movies, previous analyses have studied the U.S. motion picture industry’s top-grossing films with the heaviest advertising support, deepest audience penetration, and highest box office earnings.4,5 This report is unique in examining the U.S. movie industry’s total output, and also in identifying smoking movies, tobacco incidents, and tobacco impressions with the companies that produced and/or distributed the films — and with their parent corporations, which claim responsibility for tobacco content choices. Examining Hollywood’s product line-up, before and after the public voted at the box office, sheds light on individual studios’ content decisions and industry-wide production patterns amenable to policy reform.
[Show full text]
Racial Gatekeeping in Country & Hip-Hop Music
Portland State University PDXScholar University Honors Theses University Honors College 12-14-2020 Racial Gatekeeping in Country & Hip-Hop Music Cervanté Pope Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/honorstheses Part of the Mass Communication Commons, Race and Ethnicity Commons, Social Psychology and Interaction Commons, and the Sociology of Culture Commons Let us know how access to this document benefits ou.y Recommended Citation Pope, Cervanté, "Racial Gatekeeping in Country & Hip-Hop Music" (2020). University Honors Theses. Paper 957. https://doi.org/10.15760/honors.980 This Thesis is brought to you for free and open access. It has been accepted for inclusion in University Honors Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Racial Gatekeeping in Country & Hip-Hop Music By Cervanté Pope Student ID #: 947767021 Portland State University Pope 2 Introduction In mass communication, gatekeeping refers to how information is edited, shaped and controlled in efforts to construct a “social reality” (Shoemaker, Eichholz, Kim, & Wrigley, 2001). Gatekeeping has expanded into other fields throughout the years, with its concepts growing more and more easily applicable in many other aspects of life. One way it presents itself is in regard to racial inclusion and equality, and despite the headway we’ve seemingly made as a society, we are still lightyears away from where we need to be. Because of this, the concept of cultural property has become even more paramount, as a means for keeping one’s cultural history and identity preserved.
[Show full text]
Eminem 1 Eminem
Eminem 1 Eminem Eminem Eminem performing live at the DJ Hero Party in Los Angeles, June 1, 2009 Background information Birth name Marshall Bruce Mathers III Born October 17, 1972 Saint Joseph, Missouri, U.S. Origin Warren, Michigan, U.S. Genres Hip hop Occupations Rapper Record producer Actor Songwriter Years active 1995–present Labels Interscope, Aftermath Associated acts Dr. Dre, D12, Royce da 5'9", 50 Cent, Obie Trice Website [www.eminem.com www.eminem.com] Marshall Bruce Mathers III (born October 17, 1972),[1] better known by his stage name Eminem, is an American rapper, record producer, and actor. Eminem quickly gained popularity in 1999 with his major-label debut album, The Slim Shady LP, which won a Grammy Award for Best Rap Album. The following album, The Marshall Mathers LP, became the fastest-selling solo album in United States history.[2] It brought Eminem increased popularity, including his own record label, Shady Records, and brought his group project, D12, to mainstream recognition. The Marshall Mathers LP and his third album, The Eminem Show, also won Grammy Awards, making Eminem the first artist to win Best Rap Album for three consecutive LPs. He then won the award again in 2010 for his album Relapse and in 2011 for his album Recovery, giving him a total of 13 Grammys in his career. In 2003, he won the Academy Award for Best Original Song for "Lose Yourself" from the film, 8 Mile, in which he also played the lead. "Lose Yourself" would go on to become the longest running No. 1 hip hop single.[3] Eminem then went on hiatus after touring in 2005.
[Show full text]
UFO Music Video Promotion Details
Andy Gesner HIP Video Promo (732)-613-1779 [email protected] Music Video Promoter ‘UFO’ Cole Phoenix- USA, Canada, Latin America & International Web !Distribution/Servicing List- MTV VH1… is below proposal and company info. Here at HIP, we've had the great honor and privilege to promote over 1600 music videos over our thirteen year history. I encourage you to check out our client list, and there you can see we are not a promo company that just takes on any client no matter what the video looks like. Unlike others that do what we do, we are extremely selective about the videos we promote and are constantly searching for artists like Cole Phoenix to get in on the ground ﬂoor with. ! We will take all the necessary precautions to assure you that the Cole Phoenix "UFO" music video arrive to all of our programmers 100% ready for immediate programming. Here's the full national music video promotion proposal for you to check out, including both !internet and terrestrial television outlets in Canada and Latin America.! !Proposal:! At HIP Video Promo, music video promotion is the only thing we do! My staff and I are your guides through the treacherous terrain of music video promotion, and are here to make it as easy as possible for you to achieve maximum exposure for your video. We are fearless when it comes to promoting cliche-defying artists outside the mainstream, while always remaining highly selective in the projects we promote. Our constant goal is to supply our programmers with the videos their viewers really want to see.! HIP Video Promo has built the most impressive client roster in the industry, promoting videos by such epic talents as Pearl Jam, The B-52's, The Blind Boys of Alabama, Johnny Cash, Moby, Elvis Costello, and Motley Crue, as well being on the ground ﬂoor with artists like The Lumineers, Brooke Fraser, Iron and Wine, Death Cab For Cutie, Armin Van Buuren, Sharon Jones and the Dap Kings, Maroon 5, Bon Iver, and others on their way to stardom.
[Show full text]
Outlier Detection in Graph Streams
Outlier Detection in Graph Streams Charu C. Aggarwal ∗1, Yuchen Zhao #2, Philip S. Yu #3 ∗IBM T. J. Watson Research Center Hawthorne, NY 10532, USA 1 [email protected] #University of Illinois at Chicago Chicago, IL, USA [email protected] [email protected] Abstract—A number of applications in social networks, may be considered an edge in the graph stream. The telecommunications, and mobile computing create massive pattern of interactions within a small time window, or streams of graphs. In many such applications, it is useful to detect within users of a particular type may be considered a structural abnormalities which are different from the “typical” behavior of the underlying network. In this paper, we will provide structural network stream. Similarly, certain events in ﬁrst results on the problem of structural outlier detection in mas- social networks may lead to local patterns of activity, sive network streams. Such problems are inherently challenging, which may be modeled as streams of graph objects. because the problem of outlier detection is specially challenging • The user browsing pattern at a web site is a stream of because of the high volume of the underlying network stream. graph objects. Each object corresponds to the browsing The stream scenario also increases the computational challenges for the approach. We use a structural connectivity model in pattern of a particular user. The edges represent the path order to deﬁne outliers in graph streams. In order to handle the taken by the user across the different objects. sparsity problem of massive networks, we dynamically partition the network in order to construct statistically robust models of The afore-mentioned examples typically correspond to sce- the connectivity behavior.
[Show full text]
What's New Poadcast Transcript Season 3, Episode 14, Inside the Pop Music World
What’s New Podcast Transcript Season 3, Episode 14: Inside the Pop Music World March 24, 2020 Host: Dan Cohen, Dean of Libraries and Vice Provost for Information Collaboration at Northeastern University. Guest: Bonzai Caruso, a five-time Grammy-winning recording engineer and producer. Dan Cohen: Host (00:06): Making a hit song involves inspiration, talent, and more than a little luck. How are songs created in today's high tech recording studios, assembled in software and beamed around the world? And how has this process and the global exchange of music changed the sound of pop music itself? Today on What's New, we'll look at the technology and art of contemporary pop music with the insights of a Grammy- winning producer. Welcome back to What's New. I'm Dan Cohen. And joining me from his recording studio in Las Vegas is Bonzai Caruso a five-time Grammy-winning recording engineer and producer. Since the 1980s, Bonzai has worked with top reggae musicians as well as pop stars. And he has helped to create dozens of gold and platinum singles and albums. Welcome to the show, Bonzai. Bonzai Caruso (01:09): Hey, thanks for having me. Dan Cohen: Host (01:11): We are delighted to have a Grammy-winning producer on the show. I can't say I double checked our guest list for the podcast, but I'm pretty sure you're the first guest with the name Bonzai. So, I thought we could start maybe just by asking how you got that name. Bonzai Caruso (01:24): It's kind of a term we used.
[Show full text]
Kanye West's Use of the Diatribe: an Offensive “Scumbag”
Kanye West’s Use of the Diatribe: An Oﬀensive “Scumbag” or A Modern-Day Cynic? Author: Isabella M. Biedenharn Persistent link: http://hdl.handle.net/2345/2013 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2011 Copyright is held by the author, with all rights reserved, unless otherwise noted. KANYE WEST’S USE OF THE DIATRIBE: An Offensive “Scumbag” or A Modern-Day Cynic? By Isabella Biedenharn A Senior Honors Thesis Submitted to the Department of Communication of Boston College May 2011 Kanye West 2 TABLE OF CONTENTS Page TABLE OF CONTENTS……………………………………………………………….... 2 ABSTRACT……………………………………………………………………………… 4 CHAPTER ONE ……………………………………………………………………….... 5 Introduction………………………………………………………………………. 5 CHAPTER TWO………………………………………………………………………… 8 Background on Kanye West……………………………………………………... 8 CHAPTER THREE……………………………………………………………………… 9 Past Literature……………………………………………………………………. 9 The Modern Concept of “Celebrity”…………………………………….. 9 Implicit Racism in the Media and in Public Perception………………... 11 The Symbiotic Relationship of Celebrities and Media…………………. 13 Apologia and Celebrity Image Restoration……………………………... 15 The Impact of Celebrity Use of New Media……………………………. 17 CHAPTER FOUR………………………………………………………………………. 21 Methodology……………………………………………………………………. 21 The Diatribe…………………………………………………………….. 21 CHAPTER FIVE……………………………………………………………………….. 25 “George Bush Doesn’t Care About Black People!” Kanye West’s Statements During Hurricane Katrina, 2005……………………. 25 Analysis………………………………………………………………….
[Show full text]
TONY SOLOMONS Editor
TONY SOLOMONS Editor Feature Films & Television PROJECT DIRECTOR STUDIO / PRODUCTION CO. LEGACIES Various CW / Warner Bros. Television series EP: Brett Matthews, Julie Plec PARADISE CITY Various Prod: Ash Avildsen series TITANS Various DC Universe / Berlanti Television series EP: Greg Berlanti, Akiva Goldsman MACGYVER Various CBS / Lionsgate Television series EP: Lee David Zlotoff, Peter Lenkov FREAKISH Various Hulu / Awesomeness TV series EP: Brian Robbins, Shelley Zimmerman THE VAMPIRE DIARIES Various CW / Warner Bros. Television seasons 6-8 - Co-Producer, Editor EP: Kevin Williamson, Julie Plec season 5 - Supervising Editor, Editor season 4 - Editor SCREAM Various MTV / The Weinstein Company series EP: Jaime Paglia RINGER Various CW / CBS Television Studios series EP: Pam Veasey LOST BOYS: THE THIRST Dario Piana Warner Bros. / Thunder Road Pictures Cast: Corey Feldman, Tanit Phoenix, Casey Dolan Prod: Kent Kubena, Basil Iwanyk ELEVENTH HOUR Various CBS / Jerry Bruckheimer Television series EP: Cyrus Voris, Ethan Reiff, Danny Cannon CALIFORNICATION Various Showtime season 1 EP: Scott Winant, Tom Kapinos BODY ARMOUR Gerry Lively Image Entertainment Cast: Chazz Palminteri, Til Schweiger Prod: Steve Clark-Hall, Steve Richards DIRT Matthew Carnahan FX / ABC Studios pilot EP: Matthew Carnahan, Courteney Cox ERAGON Stefen Fangmeier 20th Century Fox Additional Editor Prod: Fred Chandler, Roger Barton Cast: Ed Speleers, Jeremy Irons, John Malkovich SLEEPER CELL Various Showtime seasons 1-2 EP: Cyrus Voris, Ethan Reiff TEAM AMERICA: WORLD POLICE Trey Parker Paramount Pictures Additional Editor Prod: Scott Rudin, Trey Parker, Matt Stone GOTHIKA Mathieu Kassovitz Warner Bros. / Columbia Pictures Additional Editor Prod: Joel Silver, Robert Zemeckis Cast: Halle Berry, Robert Downey Jr., Penelope Cruz CRADLE 2 THE GRAVE Andrzej Bartkowiak Warner Bros.
[Show full text]
Imhotep Hip Hop Issue.Pdf
A Treble Clef By The Students The By in Hip Hop Lyrics in Hip Hop Volume 9, May 2012 May 9, Volume IMHOTEP JOURNAL IMHOTEP A Discourse Analysis of Value Orientations Value of Analysis A Discourse IMHOTEP JOURNAL A Discourse Analysis of Value Orientations in Hip Hop Lyrics By The Students Volume 9 May 2012 (Blank Back of Front Cover) (Blank Back of Front Cover) San Francisco State University College of Ethnic Studies, Department Africana Studies Student Publications Imhotep Magazine Volume 1, February 2000 On Methodology Volume 2, February 2001 On African Philosophy Volume 3, February 2002 On African Education Ancient and Modern Volume 4, February 2003 Ideology of Race and Slavery from Antiquity to Modern Times Volume 5, May 2005 Essays on Ancient Egyptian Thought Volume 6, May 2008 African Rites of Passage Volume 7, May 2010 African Healing Traditions Volume 8, May 2011 African Ancestral Veneration Volume 9, May 2012 A Discourse Analysis of Value Orientations in Hip Hop Lyrics For further information contact: San Francisco State University College of Ethnic Studies, Department of Africana Studies 1600 Holloway Avenue San Francisco, California 94132 Tel: (415) 3381054 Fax: (415) 4050553 Editors Justin Metoyer and Christine Burke Production\ Design Kenric J. Bailey Contributors AFRS 111 Black Cultures and Personalities: 2008/9 Academic Year Faculty Advisor \ Co-Editor Serie McDougal, III, PhD We would like to express our thanks and appreciation to Madame Chair Dorothy Tsuruta PhD for her leadership and guidance, as well as the IRA for their support of this publication. Copyright © 2012 San Francisco State University All rights reserved.
[Show full text]
“What'd I Miss?”
“WHAT’D I MISS?” Featuring over 20,000 words squeezed into a little under two and a half hours, Hamilton clocks in at about 144 words per minute. Covering the complete life story of Alexander Hamilton through a variety of stylings at a rapid pace may have made it easy to miss some of the hip- hop, cultural and Broadway references peppered throughout the show. We’re taking a look at some of them; see if you can catch them the next time you’re rocking out! ON BROADWAY RAPPER’S DELIGHT YOU’VE GOT TO BE CAREFULLY TAUGHT WHAT’S YOUR NAME? Referenced in: “My Shot” Referenced in: “My Shot” Sung by: Aaron Burr Sung by: Company When we meet the revolutionary heroes in the early stages of Act Hamilton spelling out his name to introduce himself in “My Shot” One, Burr pops in with the line, “You’ve got to be carefully taught.” uses the same cadence as Notorious B.I.G in “Going Back to Cali.” This is a reference to Rodgers & Hammerstein’s South Pacific, a The concept of self-introduction is also a common theme used by musical that explores racism during World War II. Burr imparts this many hip-hop artists. bit of knowledge just as they finish singing about their dreams of freedom and equality. TEN DUEL COMMANDMENTS Referenced in: “Ten Duel Commandments” A MODERN MAJOR GENERAL Sung by: Company Referenced in: “Right Hand Man” The second Notorious B.I.G. reference, both the title and song Sung by: George Washington style can be attributed to “Ten Crack Commandments” which also Upon meeting George Washington, he announces himself as a begins with a count from 1 to 9 and profiles street life in the 1990s.
[Show full text]
Music Guide Music HISTORY There Was a Time When “Elevator Music” Was All You Heard in a Store, Hotel, Or Other Business
Music Guide Music HisTORY There was a time when “elevator music” was all you heard in a store, hotel, or other business. Yawn. 1 1971: a group of music fanatics based out of seattle - known as Aei Music - pioneered the use of music in its original form, and from the original artists, inside of businesses. A new era was born where people could enjoy hearing the artists and songs they know and love in the places they shopped, ate, stayed, played, and worked. 1 1985: DMX Music began designing digital music channels to fit any music lover’s mood and delivered this via satellite to businesses and through cable TV systems. 1 2001: Aei and DMX Music merge to form what becomes DMX, inc. This new company is unrivaled in its music knowledge and design, licensing abilities, and service and delivery capability. 1 2005: DMX moves its home to Austin, TX, the “Live Music capital of the World.” 1 Today, our u.s. and international services reach over 100,000 businesses, 23 million+ residences, and over 200 million people every day. 1 DMX strives to inspire, motivate, intrigue, entertain and create an unforgettable experience for every person that interacts with you. Our mission is to provide you with Music rockstar service that leaves you 100% ecstatic. Music Design & Strategy To get the music right, DMX takes into account many variables including customer demographics, their general likes and dislikes, your business values, current pop culture and media trends, your overall décor and design, and more. Our Music Designers review hundreds of new releases every day to continue honing the right music experience for our clients.
[Show full text]