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How Grammy Weekend Makes $82M For the L.A. Economy

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HustleTV Music News 

From Feb. 9 through Feb. 12, the city of Los Angeles will experience an economic boom that hits everything from ­restaurants and hotels to the local drug market. Where in years past out-of-town artists and executives might have done the Grammy Awards in a quick 48-hour turnaround, for many they now represent an extended weekend, which means big business for the local economy.

According to the city’s Tourism & Convention Board and Micronomics, the 2014 Grammys brought in $82 ­million from ­shopping, transportation and entertainment, among other sources. More than 8,800 Grammy attendees were from out of town and on average stayed four nights and spent $744 per day. HustleTV

That four-day average is a recent phenomenon. “People used to come in the night before, and if they were performing, they would rehearse during the day and then leave the next morning,” says Todd Orlich, GM of the Montage Beverly Hills. “But people are taking more time to ­experience our city.”

What hotels don’t see much of is planning ahead. “Never,” says Orlich. “When the awards come out, you get the rush. You get probably 15 to 20 ­reservations that day that are specifically geared toward Grammy weekend. Everybody else, the other 150 rooms that we book, all come within seven days,” adds Orlich, who will hold rooms for certain regulars until they know their plans. HustleTV

Sturgill Simpson


Who’s Been the Sturgill Simpson of Every Grammys This Millennium?

Hotels popular with Grammygoers also can ­accommodate music-­specific needs. The Montage turns public spaces like yoga studios, presidential suites and ballrooms into rehearsal rooms for guests. “There’s a lot more sharing their art in the hotel to get ready for the ­performance,” says Orlich.

Not feeling a marked bounce, ­surprisingly, are ride-share ­companies like Uber and Lyft. “Stadium shows at the Rose Bowl are far bigger,” says one driver. “Only the Oscars make a difference. But only because it blocks a big chunk of Hollywood Boulevard.”

Another departure from the Academy Awards? Marijuana ­consumption. “The Grammys ­outperform the Oscars for weed — artists consume far more weed than actors,” says a local dealer. “Music is the reverse of a script: It’s an empty page and you’re vibing with other musicians, which makes pot a really social drug.” HustleTV

Drake performs onstage at the 2016 iHeartRadio Music Festival at T-Mobile Arena on Sept. 23, 2016 in Las Vegas.


2017 Grammy Nominations Signal a ‘New Reality’

Since many artists will log studio time while they are in Los Angeles, sativa strains, which are ­invigorating and conducive to ­socializing, are ­particularly in demand. “Most ­studios, especially those in the hip-hop world, are all about kushes,” says the dealer, “so I try to keep two to three kush strains in ­rotation, along with a kush hybrid.”

While the Oscars might be the gold standard for Hollywood, there’s a consensus among insiders that the Grammys are the most fun. “Everybody is so much cooler. Oscar and Golden Globe people are a little more controlled,” says Sunset Tower Hotel owner Jeff Klein. “Grammy ­artists don’t let a publicist tell them they have to behave a certain way.” HustleTV





2017 Grammys


Meet the Producers Who Brought Dancehall Back to the Charts In 2016

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HustleTV  Top Dance Hall Producer’s  Dancehall, a sound largely absent from the charts in recent years, re-emerged in new ways in 2016, with big names like Justin Bieber (“Sorry”; “Cold Water” with Major Lazer), Rihanna (“Work”) and Drake (“Controlla,” “One Dance,” “Too Good”) riding island rhythms to multi-format ubiquity. Here’s a look at the producers who got American listeners back on the Caribbean wave. DJ Hustle

Sevn Thomas
Hometown: Toronto
Breakthrough Track: Drake, “10 Bands” (2015)
2016 Hit: Rihanna feat. Drake, “Work”

Rupert “Sevn” Thomas grew up immersed in Jamaican sound system culture. His Jamaican-born parents were DJs, and his uncle was dancehall artist Rappa Robert; he was a child reggae singer before taking up hip-hop beats as he got older. When tropical house hit in 2015, Thomas says he and frequent collaborator Boi-1da saw an opportunity that would lead to them coming together to produce “Work.” “We were hearing tropical sounds and we wanted to authenticate it, and put our spin to it.” DJ Hustle

“Work” has opened doors for Thomas, who also produced Drake’s “Pop Style” this year, but he doesn’t intend to exploit the trend by flooding the market with more dancehall-inspired pop. “It’s almost like the industry has become saturated by people chasing ‘Work’ and trying to reproduce the same results,” Thomas says. “That song is one of a kind for a reason. Rihanna is actually West Indian, Drake understands the culture, PartyNextDoor is half Jamaican, I’m Jamaican, Boi-1da is Jamaican. It wasn’t forced.”

Stephen “Di Genius” McGregor
Age: 26
Hometown: Kingston, Jamaica
Breakthrough Track: Mavado, “Weh Dem Ah Do” (2006)
2016 Hit: Drake, “Controlla”

The son of reggae great Freddie McGregor, Stephen “Di Genius” McGregor has been producing professionally since he was 12. At 15, he ushered in a new era of dancehall with tracks like Mavado’s “Weh Dem Ah Do” (No. 27, Hip-Hop/R&B, Dec. 2006), bringing forth a darker-hued, orchestral approach to the genre. Now based in Miami, McGregor has added Ne-YoEstelleNelly FurtadoLianne La Havas and Shakira to his client list, while remaining one of dancehall’s most sought-after rhythm makers. “Controlla,” his highest-charting credit, grew from a group session at Miami’s Circle House Studio with Supa Dups and OVO producers including Boi-1da. “Me and Boi-1da got into a room together, and made a ton of tracks — maybe five, six beats,” he recalls. “When we made the beat for ‘Controlla,’ I remember he put it aside and said, ‘I think Drake is gonna like this one…'”

Jr Blender
Age: 37
Hometown: Hamburg, Germany
Breakthrough Track: Major Lazer feat. MØ and DJ Snake, “Lean On” (2015)
2016 Hit: Major Lazer feat. Justin Bieber and MØ, “Cold Water”

Germany’s Jr Blender (Philip Meckseper) was best known for bootleg reggae remixes of Rihanna and Bruno Mars songs when he was recruited by Diplo to work on original tracks for Major Lazer three years ago. Since then, Blender has co-produced “Lean On” (2015) and “Cold Water,” the dancehall-inspired EDM outfit’s biggest hits to date. Each peaked at No. 2 on the Hot 100, and both blend dembow — the Jamaican-originated drum pattern that’s also the heartbeat of reggaeton — with soothing, Eastern-inspired melodies. “I spent maybe the last 20 years studying Jamaican music and trying to sound as authentically Jamaican as possible for a white guy from Germany,” says Blender, who also produced within the duo So Shifty. “It was relieving and fun for me to make something else but apply the things I learned making reggae on other music.” Now residing in L.A., he’s part of the core production team, along with Diplo and King Henry, working on Major Lazer’s upcoming fourth album, Music Is the WeaponDJ Hustle

Age: 30
Hometown: Toronto
Breakthrough Track: Drake, “Best I Ever Had” (2009)
2016 Hits: Rihanna feat. Drake, “Work”; Drake, “Controlla”

Matthew “Boi-1da” Samuels is among the most accomplished hip-hop producers of his generation, with credits for Jay ZKanye WestKendrick LamarEminem and his day-one client, Drake. The “Best I Ever Had” beatmaker, who moved to Toronto from Jamaica at age three, added another feather to his OVO cap this year as Rihanna’s “Work,” co-produced with Sevn Thomas, Allen Ritter, Kuk Harrell and Noah “40” Shebib, spent nine weeks atop the Hot 100, the singer’s longest-reigning No. 1. Musically rooted in Jamaican producer Richie Stephens’ “Sail Away” rhythm from 1998, “Work” preceded a ‘90s dancehall nostalgia wave (See also: Tory Lanez’s “LUV,” Fifth Harmony’s “All In My Head”) while warming radio up for the dancehall-lite singles from Drake’s Views, including Samuels’ own contribution, “Controlla.” DJ Hustle

Cashmere Cat
Age: 29
Hometown: Halden, Norway
Breakthrough Track: Ariana Grande, “Be My Baby” (2014)
2016 Hits: Tory Lanez, “LUV”; Kanye West, “Wolves”

Though the producer already has serious pop bona fides — most recently, via four songs on The Weeknd’s Starboy — he’s always had an ear for dancehall, citing Alkaline and Tommy Lee Sparta as some of his contemporary favorites. “I’d been playing this kind of music for a really long time, because all our DJ sets are just every kind of dance music,” he says. “But [“LUV”] was the first time I actually produced a song that really felt great like that.” The ­beatmaker, born Magnus Høiberg, cites fellow Norwegians Stargate (Tor Erik Hermansen and Mikkel Storleer Eriksen) as the people who inspired him to experiment with Caribbean music. “They made authentic-sounding songs, and they’re literally from the place I grew up,” he says. “They paved the way not just for me trying to do dancehall, but for Norwegian producers in general.”

Hoiberg says the Top 40 trend is “something that happens in waves, because [dancehall]’s incredibly catchy and global.” He adds, “I feel like right before this happened, every producer was like ‘When is fucking dancehall coming back?’” Sean Paul hopped on the “LUV” remix, which thrilled Høiberg. “My very first dancehall record turned into a Sean Paul song, which is really out of control.” HustleTV

Age: 31
Hometown: Scarborough, Ontario
Breakthrough Track: Drake, “Hold On We’re Going Home” (2013)
2016 Hits: Drake, “One Dance,” “Too Good” feat. Rihanna; PartyNextDoor’s “Not Nice”

Paul Jefferies, known as Nineteen85, has worked with Drake since 2013’s Nothing Was The Same, but on Views he made himself indispensable. In addition to a solo production credit for “Hotline Bling,” he brought Drake his first Hot 100 No. 1 with “One Dance” (co-produced by Noah “40” Shebib and featured artist Wizkid) blending dancehall, Afrobeats and U.K. funky house for one of 2016’s truly global hits. Caribbean sounds were also central to Views single “Too Good” (featuring Rihanna, and co-produced with Supa Dups and Maneesh Bidaye) and PartyNextDoor’s “Not Nice” (also with Supa Dups), which sample dancehall stars Popcaan and Vybz Kartel, respectively. Jefferies, whose mother is Jamaican, says there was no master plan on his part. “I think a lot of it is timing — music always goes in cycles,” he says. “We had the Sean Paul/Elephant Man/Shaggy/Beenie Mantakeover in the early 2000s, so it was gonna happen again sooner or later. Toronto has so much influence on music right now, and Toronto’s urban music scene has always been heavily influenced by reggae.” HustleTV

Supa Dups
 “Age is nothing but a number”*
Hometown: Miami by way of Kingston, Jamaica
Breakthrough Track: Nina Sky, “Turnin’ Me On” (2004)
2016 Hits: Drake, “Controlla” and “Too Good” feat. Rihanna; PartyNextDoor, “Not Nice”

The founder of Miami sound system (or DJ crew) Black Chiney, Dwayne “Supa Dups” Chin-Quee transitioned into production a decade ago after a series of game-changing mixtapes featuring his hip-hop remixes of dancehall hits. (Diplo has called Black Chiney an inspiration for Major Lazer, whose Walshy Fire got his start with the collective). The Kingston native has produced tracks spanning reggae, R&B and hip-hop for Bruno Mars, Rihanna, Sean Paul, Eminem, John Legend and Juicy J over the last decade but 2016 brought things full circle as his production for Drake (“Controlla,” “Too Good”) and PartyNextDoor (“Not Nice”) helped solidify the dancehall trend in hip-hop and R&B. Supa Dups cites growing camaraderie and increased cooperation between producers of West Indian descent as one reason for the revival. “We were friends for a long time, and this whole reggae sound started to come around,” he says of long-running relationships with people like “Controlla” collaborator Boi-1da and Nineteen85, his co-producer on “Too Good” and “Not Nice.” “Drake is always intrigued by the Caribbean sound so were all like ‘why not all get together and make it happen.’” HustleTV






Drake Celebrates ‘Views’ Quadruple Platinum Certification

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HustleTV Music News While 2016 has been a bummer for many, Drake is having a phenomenal year.

On Monday (Dec. 5), the RIAA announced that the hip-hop superstar’s fourth studio album, Views, has been officially been certified quadruple platinum. The honor marks 4 million units sold with 100 streams counting as one certifiable unit.

Views is Drake’s second album to hit the quadruple platinum milestone, following his 2011 sophomore release Take Care. The album was released April 29 and was certified double platinum June 9 and triple platinum on Aug. 3. HustleTV

Rihanna and Drake pose onstage during the 2016 MTV Video Music Awards at Madison Square Garden on Aug. 28, 2016 in New York City. 


Drake & Rihanna Top Spotify’s Year-End Lists

In September, Apple Music announced Views was the streaming service’s first ever album to hit 1 billion streams. Last month, the album hit 3 billion streams on Spotify and last week topped its year-end lists as the most streamed artist in the United States and internationally. HustleTV

Drake celebrated the news on Instagram:







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HustleTV & DJ Hustle Presents No Stress On A Monday Quick Mix

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HustleTV Music News….  DJ Hustle aka Hot Hands has put new music in the mix.  Hustle is on the  turntables giving you

No Stress vol #1 quick mix series. DJ Hustle is in this mix on HustleTV.


Drake ft Rihanna – Too Good (Clean)
Pitbull – Freedom (Clean)
Rihanna ft Drake – Work (Liam Keegan Remix / Clean)
Calvin Harris – My Way
Calvin Harris ft Rihanna – This is What You Came For (Denis First RMX / Short Edit) – 8A
DJ Snake ft Justin Bieber – Let Me Love You (Transition 124-100 / Clean) – 5A
Kranium ft Tory Lanez – We Can (PeteDown Remix / Clean)
Kamaiyah – How Does It Feel (Clean)
The Chainsmokers – Closer (Jay Velar Edit)
Trinidad James ft Mystikal & Lil Dicky – Just A Lil Thick (Hype Intro / Clean) – 8A


Young M.A. – OOOUUU (Transition 100-83 / Clean)
Ty Dolla $ign ft. Joe Moses – Wavy (Transition 85-105 / Clean)
Bruno Mars x Pilot – 24K Magic (1974 Vintage Hype Intro / Clean)
YG – One Time Comin (Clean)
Jason Derulo – Kiss The Sky (Intro)
Bel Biv Devoe x Kideva – Poison (OG intro to That Girl Transition 112-123 / Clean)
Meghan Trainor – Me Too (Clean / Ends Cold)
Fat Joe & Remy Ma Ft. French Montana – All The Way Up (Kue Remix)
YG ft Drake – Why You Always Hatin (Transition 124-93 / Clean)
Why You Always Hatin
dj-hustle-dj hustletv dj los angeles

dj-hustle-dj hustletv dj los angeles





Beyonce Songs Remixed: Listen to 7 of the Best

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HustleTV Music News…. Say whatever you want about Rihanna, Beyonce is the queen pop diva of our age. She is “Flawless,” she is innocent in a “Halo,” she is a “Naughty Girl.” She is a mother, a lover, a daughter, a friend. She is every woman, it’s all in her, and she has legs on legs on legs.

She is unafraid to stand up for her beliefs or make a statement in front of millions. She is powerful and emotional and Bey-ond all description. About the only thing she can’t do is stop the memes, but hey, no one is God.

With six successful solo albums and four with her old gal pals Destiny’s Child, there’s a whole lot of Bey out there to enjoy. Still, we love to see DJs and producers get their hands on Ms. Slay, and these are some of our favorite remixes of Beyonce songs out there. HustleTV

7/11” – DJ Mustard

Holy shnikes does this ish bang. “7/11” is kind of obnoxious. It’s so repetitive, but there’s no chance to be annoyed by the five-millionth “side to side” in this hyped-up version from one of the best hip-pop producers to ever do it. Get ready to sweat out your blow-out, for real. HustleTV

“Naughty Girl” – Finesse and Brenmar 

Released in honor of Bey’s Bday in 2013, this Jersey Club edit features is back-breaking, booty-bouncin’ greatness. It’s rather minimal with a repetitive vocal sample, but in this instance, it’s all you need. HustleTV

“Formation” – TRST

Woooo! This hot sauce is too hot! Our buns are burning from the workout TRST put on this instant classic. Another Jersey Club rework, but this one is a bit more colorful than Brenmar’s approach. Up-tempo, hard-hitting, and fierce af, just like Queen Bey.

“Sorry” – Niko Javan

Why does this song end in a baby crying? Why isn’t it longer? Because Niko Javan is crazy, but he do know how to write crazy awesome beats. This one feels like a trip through funky hyper-space. Sorry he ain’t sorry. HustleTV


Crazy in Love” – 50 Shades of Gray Soundtrack

Beyonce pre-Lemonade be lookin’ at Jay with wild side-eye. This haunting rendition of the young Beyonce’s ode to now-hubby Jay Z turns the peppy pop song into the anthem for crazy ex-girlfriends everywhere. We’ve all felt this way at one point or another. We’ve all had that one scary lover for whom this jam is perfect. HustleTV

“Drunk in Love” – The Weeknd 

Kick every child in a five-mile radius out of the vicinity. Do not listen to this without headphones if your boss is anywhere within ear shot. This is the dirtiest thing you’ll ever heard maybe in your entire life. The Weeknd is disgusting in the best way over this turned-down version of Beyonce’s run-away hit. Hope you’ve got a minute for – ahem – yourself. HustleTV

“XO” – Full Crate

A lil wonky bass line for your last-call Beyonce feels. If this doesn’t get the room laid just before the club lights go out, you’re doing something severely wrong.  HustleTV



Beyonce, Rihanna Dominated MTV VMAs,

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HustleTV Entertainment News….  For the past dozen years, as MTV’s once-titanic grip upon music and pop culture has dwindled, the Video Music Awards have been its ace-in-the-hole — the annual ratings and water-cooler-moment jackpot that keep it anchored in a media world that continues to evolve far beyond television networks. And while the network has continued to hit those moments — which usually involve the names Kanye WestTaylor Swift or Miley Cyrus — the VMAs are unlikely ever to reach the gold standard of 13 years ago when it was Britney Spears and Madonna.

But in a year that’s been tumultuous even by this beleaguered network’s standards (see the Sumner Redstone/Phillippe Daumann drama), there’s opportunity. The medium that stole the thunder (and lunch) of MTV and the industries around it — the Internet and YouTube in particular, duh — has made music videos more relevant than they’ve been since the turn of the millennium. And whether it’s luck or changes in leadership or tactics, the 2016 VMAs were the first in recent memory that actually felt different.

The show’s format was only the most obvious change. It was less rigid and predictable — for an awards show, anyway — and, in a way that reflects the changing power dynamic in the music business, large segments were basically handed over to superstar artists. Rihanna performed four separate times and was presented with the Video Vanguard award by a be-tuxed — and possibly lovelorn — Drake, occupying approximately 30 minutes of the nearly three-hour-long show. Kanye West filled around 12 minutes with a stream-of-consciousness speech and a soft-porn new music video; Alicia Keys spoke and sang a poem inspired by Martin Luther King. Beyonce, suiting her imperial status, delivered a mind-blowing 15-minute medley that showed her peerless mastery of the live television moment. Diddy‘s relentless brand-dropping (he strategically mentioned Ciroc vodka, with which he has a 50-50 profit split, in both of his on-camera appearances) felt like a throwback.

The visuals and staging were as vivid as ever but woozier and more surreal: the show opened with a barrage of pink — Rihanna’s sterile, bathroom-esque opening number was followed by Ariana Grande and Nicki Minaj performing in a set seemingly modeled on a West Village Soul Cycle, and that was just the first 15 minutes.
The tone of the show was different as well: While there was no shortage of the corny jokes that seem obligatory for awards shows, the familiar Caddyshack humor that was a hallmark of longtime president Van Toffler — who left MTV last September after 28 years at the network — was nowhere in sight, replaced by a social-media based sass that didn’t always work but at least was trying to look forward. HustleTV

Which leads to the biggest change of all: Whether by circumstance or design, this was unquestionably the blackest VMAs ever, and possibly the blackest mainstream awards show to date. The main “commentators” (basically a revolving set of hosts) — Keegan-Michael Key and Jordan Peele, former Saturday Night Live actor Jay Pharoah and comedian Nicole Byer — and the most prominent headlining performers were nearly all black or mixed-race. Few of the white nominees or usual suspects were in attendance — multiple nominees Adele and Justin Bieber sat the night out (and did not win any Moonmen), as did awards-show junkie Taylor Swift, who probably elected to stay home rather than risk another run-in with the West-Kardashians — or even got much mention or play during the show (save for a brief Kanye mention).

Not a single rock band performed and most of the white performers underwhelmed: While Nick Jonas delivered a solid show-piece of his hit “Bacon” in the diner across from Madison Square Garden, Britney Spears and G-Eazy were stuck with the thankless task of following Beyonce, and Halsey did her best to fill the charisma vacuum created by her duet partners The Chainsmokers, who were clearly out of their depth on the big stage. Olympic superswimmer Michael Phelps talked about “the motivation and inspiration I get from hip-hop” and explained that “when I made that face that ended up all over the Internet, I was in the zone with Future’s track ‘Stick Talk’ blaring in my headphones.”

Yet even in these racially charged times, the subject scarcely came up during the show itself. Beyonce made a big statement by walking the white carpet (!) with the mothers of police-violence victims Eric Garner, Michael Brown, Oscar Grant and Trayvon Martin, and part of her performance featured several dancers falling, bathed in pools of red light, as if shot. Yet much of the symbolism in her performance was focused on another long-oppressed demographic — females — and her acceptance speeches were directed at family and colleagues and teams. Kanye West had a seemingly poignant set-up about the horrifying gun violence in Chicago, but it just led to him making a point, as usual, about himself. There were multiple missed opportunities to grab the mic and Say Something. HustleTV

Maybe the network was leery of making those kinds of waves — although it’s not like these are artists who can be told what to do. Maybe, in a year that’s seen more far-reaching tumult hit closer to home than any since the ’60s, the performers figured people have had enough.

But for all the bad jokes and missed moments, and for all the inevitable post-show snark attacks on social media, at least this year’s VMAs suggest a different way forward. One speech along the lines of Jesse Williams’ Black Lives Matter broadsideduring the BET Awards, and we’d be talking about something besides Beyonce’s flawlessness and Kanye’s Olympic narcissism.

2016 MTV VMAs

DJ Hustle HUstleTV.tv Hustle

DJ Hustle HustleTV.tv Hustle

Rihanna performs onstage during the 2016 MTV Video Music Awards at Madison Square Garden on Aug. 28, 2016 in New York City.

1. Rihanna goes monochrome to run through her hits “Don’t Stop The Music,” “We Found Love,” and “Don’t Stop The Music” for her first performance of the night.

Beyonce and Blue Ivy Carter attend the 2016 MTV Video Music Awards on Aug. 28, 2016 in New York City.

The trend-setting tot wore a $10,950 Mischka Aoki dress on the VMAs red carpet. “The Grand Royalle” dress with gold leatherette bodice, a high-low hem and 3D floral appliques is available at Bergdorf Goodman.

An Australian designer, Winnie Aoki is known for luxury materials and craftsmanship. She presents her collections on the runway at New York Kids Fashion Week. Her fairytale-like clothes have been worn by Blue Ivy before, as well as Suri Cruise and Penelope Scotland Disick. She started her label in 2009 when she couldn’t find clothes good enough for her first daughter, Mischka, after whom the label is named.

At the VMAs, Blue Ivy also wore a diamond tiara by jewelry designer Lorraine Schwartz adn pale pink high top sneakers by Giuseppe Zanotti.

Two other little girls who made an entrance with Beyonce were also dressed in Aoki’s designs, the Fairy Queen dress ($9200) and the Aurora dress ($2318).

MIschka Aoki is known as an haute couturier for children. A dress can take up to 300 hours to produce, with at least 8 seamstresses working on one. HustleTV

Drake presents Rihanna with the The Video Vanguard Award during the 2016 MTV Video Music Awards at Madison Square Garden on Aug. 28, 2016 in New York City.



Is there anything left to say about Beyoncé? Just when you thought Lemonade had taken you everywhere it could, Bey brings virtually the whole album to life with a show-stopping spectacle at the VMAs. She was a last-minute addition to the night’s performance list, but by the time she was done, jaws were all over the floor.

Beyonce opened with the first track from her visual album, “Pray You Catch Me,” which then led to “Hold Up,” “Sorry,” “Don’t Hurt Yourself,” and “Formation.” It was a masterfully-produced, expertly executed show that did justice to Lemonade, and then some. Really, it seemed like it was out of another world above the rest of the night’s acts.

We heard Kanye was scheduled to appear at the VMAs a few days ago, so we knew we were in for a trip. What we got was a Yeezy monologue that wasn’t quite as drop-what-you’re-doing climactic as last year’s “KANYE 2020” moment, but on-point nonetheless. He was real, and he was relatable.

Kanye brought up his Taylor Swift tiff, but only to emphasize more pressing issues, like violence and systematic racism in America. There was this touching anecdote:

So I was speaking at the Art Institute last year, and one kid came up to me and he said, “Three of my friends died, and I don’t know if I’m gonna be the next.” And you have to think, like, when you’re a senior and it’s the last month and you don’t feel like doing any more work. If you feel like you’re seeing people dying right next to you, you might feel like, “What’s the point?” Life could start to feel worthless in a way.

He then shouted out his inspirations (“Truman. Ford. Hughes. Disney. Jobs.”) and premiered the video for “Fade,” starring Teyana Taylor and Iman Shumpert.

You can read Ye’s whole speech here.

And let’s not forget Chance the Rapper’s reaction to Kanye shouting him out: HustleTV

Chance the rapper Hustletv.tv

Chance the rapper Hustletv.tv

Alicia Keys gave an incredible speech while presenting the moon man for Best Male Video. The show was on Aug. 28, the 53rd anniversary of Martin Luther King’s “I Have a Dream Speech.” In that spirit, she recited a beautiful poem, beginning with the line, “If war is holy and sex is obscene, then we got it twisted in this lucid dream,” and not ending without Keys belting into song.

Rihanna’s Career Comes to Life

Rihanna won the lifetime achievement Video Vanguard award (at only 28!) so it goes without saying she had a big night. The VMAs made sure she was properly honored, and this meant multiple Ri Ri performances, featuring songs from all over her career. She kicked off the show performing classics like “Please Don’t Stop the Music” and “We Found Love” and ended it with newer hits like “Work” after accepting the big prize.

Drake was late to the show and couldn’t accept his moon man for Best Rap Video on air, but boy did he do Rihanna’s trophy justice. Aubrey gave a fawning, sincere speech to present the Video Vanguard. At the end, it looked like he went in for a big kiss, but Rihanna wasn’t having it. HustleTV Entertainment News…. 



PARTYNEXTDOOR Is Latest Canadian Success Story on Top R&B/Hip-Hop Albums Chart With No. 1 Debut

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HustleTV Music News…. Canadian singer  PARTYNEXTDOOR (real name: Jahron Brathwaite) debuts at No. 1 on the Top R&B/Hip-Hop Albums chart (dated Sept. 3) with his third charting set, PARTYNEXTDOOR 3 (P3). It bows with 28,000 copies sold in the week ending Aug. 18, according to Nielsen Music. The OVO Sound act arrived on the chart in 2013 with his self-titled mixtape, peaking at No. 34. His first official studio album, PARTYNEXTDOOR TWO, followed in 2014, earning a No. 1 entrance.

The new set bows at No. 3 on the Billboard 200 Billboard 200, with 42,000 equivalent units earned. The entrance bests his previous peak of No. 15 on the all-genre chart, which he achieved with his second charting effort. HustleTV 

PARTYNEXTDOOR also happens to be the third Canadian to lead Top R&B/HIp-Hop Albums in the past year, following his OVO Sound label co-founder Drake (with What a Time to Be Alive and Views) and The Weeknd  (Beauty Behind the Madness). All three of those albums, like PARTYNEXTDOOR 3, debuted at No. 1.

Brathwaite’s arrival follows in the trend of an influx of rising Canadian hip-hop acts on the Billboard charts in the last year. This week, he reaches a new peak on the Hot R&B/Hip-Hop Songs chart (as a lead act), as “Come And See Me,” featuring Drake, climbs 29-21. In the same chart week, fellow R&B singer and countryman Tory Lanez scores his new high on the list with his song “Luv” (up 14-9). HustleTV

Lanez released his debut album, I Told You, on his label Mad Love Records (through Interscope Records) on August 19, which will impact next week’s chart (dated Sept. 10). The Ontario native has placed his first three singles on the Billboard Hot 100 in less than 10 months.

Ontario-based Roc Nation rapper Belly also had his breakout moment on the charts this year. Nearly a decade after his debut in Canada, his first Stateside charting hit “Might Not,” featuring The Weeknd, spent three weeks atop the Rhythmic Songs chart earlier this year, and reached No. 21 on Hot R&B/Hip-Hop Songs (chart dated April 30). HustleTV

PARTYNEXTDOOR 3 (P3) spurs three debuts on the Hot R&B Songs chart, led by “Don’t Know How” at No. 15. Meanwhile, “Only You” arrives at No. 18 and “Don’t Run” comes in at No. 22. “Not Nice” concurrently jumps 30-13 in its fourth charting frame, while “Come And See Me,” featuring Drake, steps 9-8 (matching his previous peak).

Speaking of Drake, he notches his 17th No. 1 on the Hot Rap Songs chart, hopping 3-1 with “Too Good,” featuring Rihanna . He extends his record for most chart-toppers, trailed by Puff Daddy, with 10. Rihanna picks up her fifth No. 1.

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Turn Up With A Quick Mix On Monday

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HustleTV Music News….  DJ Hustle aka Hot Hands has put new music in the mix.  Hustle is on the  turntables giving you Hustle Nation Mix Tape series. DJ Hustle is in this mix on HustleTV.  Listen to DJ Hustle as he is slapping the hits from the streets. Follow Hustle on Twitter @DJHustle or Instagram DJHustle2407  DJ Hustle continues  forward with hustle radio giving artists a great plateform to have there music played around the world 24/7 seven days a week. Contact DJ Hustle to put you music in rotation now djhustle411@gmail.com

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Rihanna ft Drake – Work (DJ Scooter Remix / Clean / Drum Outro)
Trinidad James ft Mystikal & Lil Dicky – Just A Lil Thick (Clean)
Kamaiyah – How Does It Feel (Clean)
Justin Bieber vs Notorious B.I.G – Love Yourself (DJ Scooter Juicy Blend / Clean)
Keyshia Cole – Loyal (Freestyle / Dirty / Short Edit)
Keyshia Cole – Loyal (Freestyle / Dirty / Short Edit)
Chris Brown ft Lil Wayne & Too Short – Loyal (West Coast Version / Clean)
YG – Twist My Fingaz (Hype / Clean)
Kent Jones – Don’t Mind (Transition 100-79 / Clean)
JR Castro ft. Kid Ink & Quavo (of Migos) – Get Home (Transition 80-95 / Clean)
JR Castro ft. Kid Ink & Quavo (of Migos) – Get Home (Transition 80-95 / Clean)
Remy Boyz ft Fetty Wap – 679 (Clean)
Remy Boyz ft Fetty Wap – 679 (Clean)
Tony ft RJ – Keep It Player (Dirty)
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Rihanna Runs Straight Into a Mob of Fans in ‘Goodnight Gotham

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Rihanna’s “Goodnight Gotham,” a bonus track from her album Anti, soundtracks a newly released video in which the singer races into the arms of a horde of fans in Paris’ Trocadero Square.

The quick and chaotic scene is orchestrated beautifully, with Rihanna ultimately seen crowd-surfing in front of the Eiffel Tower amidst cheers and cameras flashing in the night.


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