Take 2 Seconds of Your Time and Vote for Rubi @ http://missperfect10.ca/2010-contestants/rubi-satha/

Kid CuDi’s debut album dropped yesterday the 15th and I think it is absolutely amazing. Who supported?

Read some reviews by press after the jump.

Entertainment Weekly: Cudi turns out to be that rarest of rap phenomena: a hyped upstart who really does represent a promising new phase in the genre’s evolution. A-

USA Today: Kid Cudi piqued everybody’s interest writing and performing on Kanye West’s love-gone-bad opus 808s & Heartbreak. He surpasses his mentor with
Man on the Moon: The End of Day, an introspective exploration of his demons and ambitions that is an even more fully realized concept
album.
4 out of 4

Rolling Stone: The music is engrossing and Cudi’s angst genuine (he mourns his dead father), but his raps get pedestrian (“Gray clouds up above, man/ Metaphor to my life, man”). And asserting ad nauseam that he is a “lonely stoner” is just annoying—a hipster boast masquerading as a confession.
3 out of 5

Los Angeles Times: Creative samples and an airy mix help these tracks surprise the listener, even after many plays, and make
Man on the Moon: The End of Day a standout release. The one overly consistent element, unfortunately, is Cudi’s voice. His unhurried nasal flow is highly recognizable, but doesn’t quite convey the sly wit of precursors like Slick Rick and Snoop Dogg. 3 out of 4

The New York Times:
Man on the Moon, the debut
album from this rapper-singer from Cleveland, is a colossal, and mystifying, missed opportunity, misguided if it is in fact guided at all. Unlike most of the product featuring the touch of Mr. West, who is an executive producer here,
Man on the Moon is imprecise and disjointed.

The Boston Globe: But it’s not rap. And that’s not a bad thing. Following Andre 3000’s The Love Below and Kanye West’s 808s & Heartbreak in a subset of experimental and emotional hip-hop,
Man on the Moon might be the most fully-formed of them all. What he lacks in pure rapping ability Cudi more than makes up for with infectious melodies and powerful hooks. It’s more Fall Out Boy than Fabolous.

The Washington Post: Cudi’s beats are never less than lush, often overstuffed with ear-catching detail, shaming the cheap, mechanical beats of Soulja Boy-era hip-hop. Too bad Cudi’s heart-on-sleeve poetry is so awkward you want to cringe, as if you’re flipping through your junior high journal.

FINDtheSHIT’s Favorite Tracks: My World, Pursuit of Happiness, Solo Dolo, and every other track on the album. Cop it!

LOS ANGELES (AP) — Two live-action comedies have been unable to bring down the animated adventure “Up.”

According to studio estimates Sunday, Disney and Pixar Animation’s “Up” reeled in $44.2 million in ticket sales to remain on top of the box office for the second weekend in a row.

The Warner Bros. bachelor-bash comedy “The Hangover” came in a close second (List of top 10 after the bend) with a $43.3 million debut.

Will Ferrell’s action comedy for Universal, “Land of the Lost,” had to settle for a distant third with a $19.5 million opening.

“Up” is the first movie of Hollywood’s busy summer season to take the No. 1 spot at the box office for two straight weekends.

This Weekends Box Office Numbers:

* 1. Up: $44.244m
* 2. The Hangover: $43.275m
* 3. Land of the Lost: $19.524m
* 4. Night at the Museum: Battle of the Smithsonian: $14.65m
* 5. Star Trek: $8.4m
* 6. Terminator Salvation: $8.175m
* 7. Drag Me to Hell: $7.342m
* 8. Angels & Demons: $6.5m
* 9. My Life in Ruins: $3.2m
* 10. Dance Flick: $2m

Movie Review after the JUMP.
Yes, I do have friends that got to watch the screener :)

          Its a Wayne Brothers movie, of course it was funny..but stupid funny. I loved the way they made fun of the other dance movies along with a few other movies. It was definitely a must see movie if you have a good sence of humor lol I litearlly LMAO’d ahahahah. The Wayne family should DEFINITELY do another funny movie together, im sure….no …POSITIVE it will be another hit success :D  Two thumbs up!

- Review by : Alicia C & Nicola A

Busta Rhymes is releasing a new album. No, really, he is. After leaving Interscope Records in September 2008 after a near two-year battle with the label over the delay of his unreleased project Blessed, Trevor “Busta Rhymes” Smith, 37, is finally set to unleash the retitled and reconfigured Back On My B.S. (Universal Motown), an album literally three years in the making. But the platinum hip hop wildman behind some of rap’s most uproarious anthems (1996’s “Woo Ha!! Got You All In Check,” 1997’s “Put Your Hands Where My Eyes Could See,” 1998’s “Gimme Some More, and 2002’s “Make It Clap”) is not complaining. He’s ready to put in work.

WAIT THERE IS MORE!!

VIBE: Part of the story behind Back On My B.S. is your battle with Interscope over its release. Were you worried about how the public would accept a new album from Busta Rhymes given the long period of time between projects? 

Busta Rhymes: Well, after I got with Aftermath it took me three years to put out my last album [the 2006 release The Big Bang]. So much has transpired in the way hip hop has evolved since then. I feel like I know what the game needs musically. When I would walk down the street people would be like, “Yo, Busta, we miss what you were all about.” After a while I was like, Damn, the people really do miss that boom bap. They miss that golden age era of hip hop. 

How hard is it to balance what your older fans expect versus making music for a newer generation?
The thing is, I’m about making the kind of hip hop that doesn’t sound like the golden era, but feels like it. I’m not trying to do the same things I did 20 years ago because I don’t want to sound like I’m still living in the past. But I always want my music to feel like that era because that feeling doesn’t exist no more. So let me give you what y’all are missing. 

You are also back with [Universal Motown President] Sylvia Rhone, who played a pivotal role in helping you become a platinum artist during the ’90s. Talk about your relationship.
Sylvia is the queen to me as far as executives in this business. There is not a female executive in this business that has done it like her. She trusts her artists and supports them to the fullest. It’s beautiful for me to know that I can get back with Sylvia and from the first record I put out with her my momentum in the streets has been unstoppable. We put out “Arab Money” and we shut everything down. Same with “Respect My Conglomerate.” And Sylvia is loyal as a motherfucker. I left her after the Anarchy album in 2000, [and] I came back when I did my new deal with Motown in September 2008, and there are so many people that were still on her staff that were there back in ’96 and ’97. That’s unheard of. 

What do you love most about hip hop today?
I love the aspect of the competition. My testosterone is high. [Laughs] In hip hop we compete aggressively with our lyrics; we battle with microphones and onstage. We even battle on who has the flashiest jewelry and cars. So from performing live to giving it to my women thoroughly in the bed, I love to perform. To me that’s hip hop. I was groomed to do this. 

A lot of artists talk about how they feel invincible while performing onstage. Can you describe that feeling?
It’s the most godly thing to be able to command such a respect from thousands of people. To get love from folks to the point that they are just riding out with you ’til the wheels fall off…the live performance was always my first love. 

Who are your top five producers right now?
For me it’s Kanye [West], Ron Browz, Needlz, Drumma Boy, and Just Blaze. Blaze, who did T.I.’s “Live Your Life,” is still killing them. That was a monster single. And I think Needlz makes stupid, dope shit. I love what he did for Jadakiss on that “Letter to B.I.G.” joint. And I love what he did for me on my new album, a joint called “We Miss You.” I’m putting Mavado on that joint this week. The shit is so crazy. 

Needlz is really under the radar, right?
Yeah, he’s very underrated. His stuff always sounds hip hop to me whether he’s down [in] the South or the East. 

Your all-star video for “Respect My Conglomerate” recently dropped. Are you trying to go toe-to-toe with Jamie Foxx to see who can pull off the most cameos in one video?
[Laughs] I’m not fucking with these niggas. Now we have Weezy on it. I have actors like Tyrese from Transformers, Xzibit on his movie shit, Idris Elba and Raekwon acting on some movie shit. This video is going to blow folks to smithereens. I’m just blessed to still be in this game. This year, December 12, I’m going to be celebrating my 20-year anniversary of professionally recording. So I’m bugging the fuck out that I can still bust niggas asses after all these years.

The finale of Prison Break got me depressed, I dont think I can go on a treasure hunt for a couple of days. Sorry Fam, you just gotta understand; Im talkn about Prison Break here and what the authors did, was really creative but I want to see an alternate ending!!!!!!!!!
MAN OH MAN, WTF FTW !! SOMEONE NEEDS TO CHEER ME UP. PUNCHED OUT IM OFF.
:(

Eminem RELAPSE: Resistance video game official trailer produced by Skee.TV! Relapse available for iPhone / iPod touch from Shady Games on May 19th only at iTunes.

Asher Roth has gathered reams upon reams of hype ever since he dropped “Roth Boys” and The Greenhouse Effect. Rap magazines dubbed him the “next big thing.” The Internet crowned him the “white Lupe Fiasco.” That none of this is true doesn’t mean Roth is not worth his weight. FINDtheSHIT gave his debut album a spin. In case you missed it, here’s FINDtheSHIT‘s track-by-track synopsis of Asleep in the Bread Aisle.

The album kicks off with a bang but never quite sustains that intensity. Still, there are some magical moments here.

1. “Lark on My Go Cart” – He smashed this piñata right on the nose. And we’re the lucky recipients of the candy-coated, bite-sized metaphors. Three minutes of trunk-rattling goodness.
2. “Blunt Cruise” – Beautifully textured. Terribly sequenced.
3. “I Love College” – Old news. Blends nerdiness with pop bliss. Lyrics bored us to tears.
4. “La Di Da” – Basks in the austere grandeur of warm meditations.
5. “Be By Myself (Ft. Cee-Lo)” – Makes Crow want to jump up and dance … by himself.
6. “She Don’t Want A Man (Ft. Keri Hilson)” – A tall, skinny glass of synth-pop topped with cornelian cherry. Surefire single. Waste of Estelle’s talent.
7. “Sour Patch Kids” – Frozen, thawed, dipped in a bucket of electronic sounds, then poured down the speakers with a vengeance. Intense.
8. “As I Em” – Myth: The similarities = complexion & vocal inflection. Fact: The similarities extend beyond complexion & vocal inflection.
9. “Lions Roar” (Ft. Busta Rhymes) – A rush of electricity sprawled across the soundscape. 2 million bpm. Busta feels right at home.
10. “Bad Day” (Ft. Jazze Pha) – Mildly amusing tales we can all relate to on some level.
11. “His Dream” – Mellow, ambient rap. Unravels slowly. A good narrative.
12. “Fallin’” – This is a nod to Jay-Z, who Asher Roth claims as his primary influence (if you believe that nonsense), in more ways than one. His playful delivery stacks against blasts of staccato rhythm. Get past the nursery rhymes and you’ll find it irresistible.

Overall, Asleep in the Bread Aisle is a compelling, though uneven, hodgepodge of tales drawn from his unique experience. Despite Roth’s blatant attempt to appeal to everyone at the same time, the songs work together like a sonic Jenga. For good or bad.