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The ‘We Got Love’ singer refuses to make new music at G.O.O.D Music because she felt ‘underappreciated’ at the record label owned by the ‘Gold Digger’ rapper.

May 1, 2021

AceShowbiz –
Teyana Taylor is convinced her music was “underappreciated” by bosses at Kanye West’s record label G.O.O.D Music.

The singer-songwriter was signed by the “Gold Digger” star in 2012 while she was working on his album “My Beautiful Dark Twisted Fantasy” but, after releasing her third LP, “The Album”, last June (20), she shocked fans by announcing her retirement.

Speaking on Cam Newton’s “Sip ‘n’ Smoke Web” series, Teyana confessed part of the reason for her exit from the industry was because she felt let down by West’s label.

“I am going to feel underappreciated if I’m putting in 110 per cent and my label is giving me… what, 10 percent of that,” she said.

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“I put in a lot of work (and) I felt like the label wasn’t really hearing me and (seeing) me. I feel underappreciated. It’s not that I retired permanently, it’s more like, I don’t want to move another inch for a company.”

Announcing plans to quit the industry, she wrote on social media, “Retiring this chapter of my story with the comfort that I can depart with peace of mind seeing that all the hard work and passion put in was indeed loved and supported somewhere in the world.”

In the same post, she also complained about the lack of support from the label.

“I ain’t gone front (I’m) feeling super underappreciated as an artist, receiving little to no real push from the ‘machine,’ constantly getting the shorter end of the stick, being overlooked, I mean the list (goes) on and on,” she wrote.

Kanye has yet to respond to Teyana’s claims.

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The ‘Trap House’ rapper is pitted against his rival, the ‘TM104: The Legend of the Snowman’ rhymer, in the next installment of Swizz Beatz and Timbaland’s online series.

Nov 16, 2020
AceShowbiz – Longtime rap rivals Gucci Mane and Young Jeezy are to face off in the next online Verzuz battle.
The hip-hop stars have been feuding for 15 years after Gucci Mane was linked to the death of one of Jeezy’s associates, Pookie Loc, in 2005, and now they’re taking their beef to Swizz Beatz and Timbaland’s popular series, during which musicians and rappers compete to win a livestream battle by performing snippets from their back catalogues.
Gucci replaces T.I., who was originally set to challenge Jeezy.
Speaking to “The Breakfast Club” last week, Jeezy revealed he reached out to Gucci Mane and asked him to join him on Verzuz, but his rival “respectfully declined.”

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Gucci Mane was acquitted of the murder of Pookie Loc in early 2006 on the basis of self-defence.
Swizz Beatz and Timbaland launched Verzuz at the beginning of the coronavirus lockdown in the spring (20). During the show, competitors take it in turns playing a song from a list of 20 hits from their back catalogue, as fans, friends and fellow artists watch on. A winner is later decided by Timbaland and Swizz Beatz.
Highlights have included Alicia Keys vs. John Legend, Brandy vs. Monica, DMX vs. Snoop Dogg, and Patti LaBelle vs. Gladys Knight. Gucci Mane and Jeezy will launch the new season of VERZUZ on Friday (19Nov20) at 8pm ET here: https://twitter.com/verzuzonline.
“Tell buddy Get ready Thursday Nov 19 @verzuztv Trap God vs Snowcone,” Gucci Mane wrote on Instagram.
Meanwhile, Jeezy posted this on his own page, “SAY lil guwop SEE YOU ON THE 19th. DON’T SEND YA CLONE! BIG SNO.”

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Artist of the Week: Queen Naija

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She was the lead vocalist on all three of the Pointer Sisters’ Top 40 hits in the group’s early years, and she helped define its pop sound in the 1980s.Anita Pointer, the sweet and occasionally sultry lead vocalist on many hits of her family band the Pointer Sisters in the 1970s and ’80s, died on Saturday at home in Beverly Hills, Calif. She was 74.The cause was cancer, her publicist, Roger Neal, said.The Pointer Sisters occupied a middle point in pop history between the doo-wop innocence of the Ronettes and the stilettoed girl power of Destiny’s Child.Anita’s voice had a lot to do with that. She sang with the speed and flavor of molasses. Though she commanded the virtuosity to trill prettily, she tended to sing too softly to sound overpowering. In “Slow Hand,” a love song with a soft-focus music video that reached No. 2 on the pop charts in 1981, Anita cooed.When she sang lead vocals, on that song and others, her sisters provided a melodic line on backup, and the women frequently harmonized, structuring their groovy ’70s sound along similar lines to a barbershop quartet.The group started with four Pointer Sisters — Anita, Ruth, Bonnie and June — and became a trio when Bonnie left to pursue a solo career in 1977. Anita sang lead on all three of the group’s Top 40 hits in its original incarnation, including the breakout hit, “Yes We Can Can,” from its debut album, “The Pointer Sisters” (1973). It reached No. 11 on the charts that year.The Pointer Sisters performing in 1973. From left, they are Ruth, Anita, Bonnie and June. Associated PressPerforming the song live, Anita sang through a toothy smile, with an earnest, imploring tone that might have been learned from hearing her father, a minister, preach.Some of the Pointer Sisters’ early music, such as “How Long (Betcha’ Got A Chick On The Side)” (1975), could be fast-paced and funky, but the antique aspect of the group’s sound was deliberate. The Pointer women performed wearing secondhand clothes that could have been worn to church in the 1940s — and they sometimes even sourced their wardrobe from their mother’s church friends.They won their first Grammy, unusually for a Black group of the time, in the best country vocal performance by a duo or group category, for the 1974 song “Fairytale,” written by Anita and Bonnie.Working outside her family band in 1986, Anita achieved a rare crossover hit in a duet with the country singer Earl Thomas Conley, “Too Many Times.” The two performed the song at an improbable venue for Mr. Conley: the R&B television show “Soul Train.”The Pointer Sisters charted a new course when Bonnie left the group. Its 1978 rendition of Bruce Springsteen’s song “Fire,” which reached No. 2 on the charts, was transitional: old-fashioned honky-tonk piano lines, but with Anita as lead vocalist leaning into a huskier, sexier side of her low voice.By 1982, the group had arrived at a largely new style with “I’m So Excited.” On lead vocals, Anita sounded joyous belting out come-hither lyrics about “those pleasures in the night,” and the group came out with a racy music video to match. The song spent 40 weeks on the Hot 100 chart.Anita sang backup on other Pointer Sisters hits, with June in lead for “Jump (For My Love),” which won the duo or group pop performance Grammy in 1985, and Ruth led on “Automatic,” which won the vocal arrangement for two or more voices award at that year’s ceremony.“That’s something I would always hate to see — somebody trying to out-sing the other person,” Anita said in a discussion of her career posted on YouTube in 2015. “Everybody did their best. I never felt like we were competing onstage.”Anita Marie Pointer was born on Jan. 23, 1948, in Oakland, Calif. Her father, the Rev. Elton Pointer, and her mother, Sarah Elizabeth Silas Pointer, both ministered to a small congregation. The six Pointer children sang in choir throughout their childhoods, gaining vocal training that would help the girls harmonize when they formed their own group.Elton and Sarah came from Arkansas, and Anita fell in love with her grandparents’ home in the town of Prescott, where she attended fifth, seventh and 10th grades. She attended a racially segregated school, was forced to sit in the balcony of the movie theater and once picked cotton for money.She graduated from Oakland Technical High School in 1965 and was hired as a legal secretary. In 1968, she saw Bonnie and June sing to a crowd in San Francisco. “I just lost it,” she told Collector’s Weekly in 2015. “I sat in that audience, and I cried, and I sang along. The next day, I quit my job. I said, ‘I’ve got to sing!’”The sisters soon became a backup group for musicians in the San Francisco area like Taj Mahal. Once, they were warned about upstaging a musical act they were supposed to be supporting. They began recording their own music.In addition to music, Anita amassed a notable collection of objects charting Black American history, including artifacts of slavery, segregation and racist caricature.“This reminds me that everybody don’t love you and that you have to prove them wrong,” Ms. Pointer told Collector’s Weekly. “You’re not a buffoon. The artists tried to depict Black people in an insulting way, but I think big lips and big booties are beautiful.”Ms. Pointer’s two marriages ended in divorce. Her daughter, Jada, from her first marriage, died of cancer in 2003. June died in 2006, and Bonnie died in 2020. Ms. Pointer is survived by her sister Ruth; her brothers, Aaron and Fritz; and a granddaughter.As she aged, Ms. Pointer never fell out of love with her old music, blasting it in her car and singing along. The band kept performing well into the 21st century.“It’s not a vulgar show, so you can bring your grandma and you can bring the kids,” Ms. Pointer told the French outlet Metro News in 2007. “They’re not going to get a corset in their face.” More

The rapper Tekashi69 walked out of a federal prison on Thursday, four months short of his two-year term, thanks to a nationwide effort to stem coronavirus outbreak risks at jails and prisons, which health advocates fear might become a tinder box for infections.Tekashi69 (born Daniel Hernandez), 23, will finish the remainder of his sentence in home confinement, his lawyer, Lance Lazzaro, said.Last year, Mr. Hernandez — also known as 6ix9ine — pleaded guilty to a series of gang robberies and shootings, cooperating with authorities by testifying against his former associates in the gang Nine Trey Gangsta Bloods. He has asthma, which his lawyer argued gave him a heightened vulnerability to the coronavirus.U.S. District Judge Paul A. Engelmayer, who sentenced him, agreed, saying that the pandemic presented “extraordinary and compelling reasons” for a compassionate release of Mr. Hernandez, who, he wrote in his order on Thursday, “no longer will present a meaningful danger to the community if at liberty.”Last week, Judge Engelmayer wrote in a guidance to the Bureau of Prisons: “Had the Court known that sentencing Mr. Hernandez to serve the final four months of his term in a federal prison would have exposed him to a heightened health risk, the Court would have directed that these four months be served instead in home confinement.” More

With his smooth voice, he drew crowds to cabarets and music halls for six decades. He also sang the themes for films and TV shows, including “The Love Boat.”Jack Jones, a crooner who beguiled concert fans and stage, screen and television audiences for decades with romantic ballads and gentle jazz tunes that even in large venues often achieved the intimacy of his celebrated nightclub performances, died on Wednesday in Rancho Mirage, Calif. He was 86. His wife, Eleonora Jones, said the cause of his death, in a hospital, was leukemia.While his popularity peaked in the 1960s, Mr. Jones found a new audience in later years singing the theme to the hit television show “The Love Boat.” But even then he seemed always to have stepped out of an earlier generation, one that dressed in tuxedos for the songs of Tin Pan Alley and reminded America of its love affairs with the Gershwins, Cole Porter, Sammy Cahn and Jimmy Van Heusen.He won two Grammy Awards and recorded numerous albums of American Songbook favorites that hit the upper reaches of Billboard’s charts on the strength of his smooth vocal interpretations. He performed at Carnegie Hall, the Kennedy Center, the White House and the London Palladium, and for more than 60 years drew crowds to cabarets and nightclubs around the world.At the Oak Room of the Algonquin Hotel in Manhattan in 2010, marking his 52nd year in show business, Mr. Jones opened and closed a two-hour retrospective of his songs with Paul Williams’s “That’s What Friends Are For.” He sang to a packed house of longtime fans:Friends are like warm clothesIn the night air.Best when they’re oldAnd we miss them the most when they’re gone.“Those lyrics evoked the vanishing breed of pop-jazz crooner, of which Mr. Jones and Tony Bennett remain the great survivors,” Stephen Holden wrote in The New York Times. “Mr. Jones, now 72, draws the same kind of well-dressed sophisticated audiences that used to attend the annual appearances at the defunct Michael’s Pub of his friend Mel Tormé, who died 11 years ago at 73.”Mr. Jones with his fellow vocalist Tony Bennett in 1972.Central Press/Hulton Archive/Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More