In the latest episode of One of One, Steiner Auctions Sales Manager Efrain Reyes takes us up close with an Air Jordan that was worn by Michael Jordan when he briefly stepped away from basketball in the 90s.
This Air Jordan 9Player Exclusive was retrieved from Bill Schmidt, former Vice President of Global Sports Marketing at Gatorade, who worked closely with Jordan during some of his earliest marking campaigns for the sports drink. The cleat was worn by Jordan when he suited up as a member of the Birmingham Barons minor league baseball team in 1994 and is one of many pieces procured by Steiner for premium auction lots.
“I had to fire General Flynn because he lied to the Vice President and the FBI,” the president tweeted. “He has pled guilty to those lies. It is a shame because his actions during the transition were lawful. There was nothing to hide!”
I had to fire General Flynn because he lied to the Vice President and the FBI. He has pled guilty to those lies. It is a shame because his actions during the transition were lawful. There was nothing to hide!
Many politicians and political commentators said they believe this single tweet was an admission to obstruction of justice. You see: Flynn was forced to resign as national security adviser back in February; Trump’s most recent tweet implies he was aware the general had lied to federal authorities in the month prior. So if Trump knew about Flynn’s crime, why would he allegedly ask former FBI director James Comey to drop the investigation of Flynn shortly after he was ousted? During a testimony back in June, Comey told Congress the president asked him to consider “letting Flynn go.”
As he was departing from the White House on Saturday morning, several reporters asked Trump about his thoughts on Flynn’s recent guilty plea. The president suggested he was not worried, and instead focused on the passing of the GOP tax bill.
“No, I’m not. And what has been shown is no collusion, no collusion,” Trump said. “There’s been absolutely no collusion so we’re very happy, and frankly last night was one of the big nights.”
The ComplexCon 2017 hangover is real right now, and it's time to try and recollect all the greatest moments from the two-day event in Long Beach, California. For the Full Size Run boys, the highlight of the weekend was a sit down interview with Adidas's Vice President of Global Entertainment and Influencer Marketing, Jon Wexler.
Wex is best known for being the man who brought Kanye West to Adidas, and he talked about Kanye's effect on the brand, as well as the perceived war against Nike, and whether or not Adidas won ComplexCon 2017.
“Get Throwed” is a landmark song for Houston rap music, and means much more beyond being a massive single off Bun B's first solo album, Trill. After UGK linked up with Jay Z on 2000's “Big Pimpin,” they were catapulted to a new level of fame, so Jay coming back and returning the favor with a feature only felt right.
But there's apparently a little bit more history to the song than we knew. During a new interview on the Rap Radar Podcast, Bun B confessed that Jay's appearance wasn't as innocent as it may have seemed on first glance. The Houston legend says Jay was clapping at someone on “Get Throwed,” and it sounds like it may have been someone close to him.
“If you listen to 'Get Throwed,' to Jay's verse—to some people it's going to be clearer than others—but there were shots fired in bars 8-12, and there were more shots from bars 12-16,” Bun B explains. “This was before [Nas]. This was more internal. You go back and listen to it, that's the only clue I'm going to give you.”
There are only 15 bars in Jay's verse, so we'll have to assume Bun meant 12-15 in his claim. But this begs the question: who the hell was Jay firing at on “Get Throwed,” and why? First, let's parse through the actual lyrics in question, starting from bar eight.
The competition is none, they deceased to exist
Let it breathe a little bit
He's off his rocker, he's a lil schiz'
Throwed like a football, Hov' used to cook raw
Now I got the game sewn like granny's good shawl
Pshaw, y'all niggas want war
Y'all got it backwards, y'all should want raw
Y'all should want more
The timeline suggested by Bun makes it really difficult to tell. Though “Get Throwed” came out in 2005, Bun claims this is something that came “before” his beef with Nas. What that means is anyone's guess; is Bun referring to how far Jay's relationship with the person goes back, or the period in which Jay was angered enough to pen these bars?
Things only really started to pick up between Jay and Nas around the turn of the century, but they had been trading subliminal shots for a lot of the mid-to-late 1990's. If Jay's animosity for someone in his crew goes back that far, it has to be someone real close. Either that, or Bun doesn't have the best grasp of the timeline, but he's the narrator here, so we gotta roll with it a little bit.
Here are a few of the strongest candidates.
I know, I know, Bun insists this is not about Nas. But you have to raise the question any time a Jay diss from that time period is mentioned, and it's not totally unfounded.
It's unclear whether the line about being a “lil schiz'” (short for schizophrenic) is referring to Jay himself or the person in question, but duplicity is something Jay attacked Nas hard for during their infamous battle. He referenced it briefly on “Takeover,” when he told the story about showing Nas his first Tec-9, but went even further on the title track of Blueprint 2. “Is it 'Oochie Wally Wally' or is it 'One Mic'? Is it 'Black Girl Lost' or shorty owe you for ice?”
The reference to “war” was also a trademark of his beef with the Queensbridge native. “If you want war then it's war it's gon' be,” he said on the BP2 intro, and he told the “little soldier” he wasn't ready for war on “Takeover.” There's a lot of circumstantial evidence suggesting Nas is the party in question.
But we'll take Bun's word for it on this one, and besides, by 2006 the two rappers were linking up for a song on Hip Hop Is Dead, the infamous “Black Republicans.” I doubt they'd be working together a year after “Get Throwed” if the battle was still raging on.
Here's a candidate that would appear to fit all the criteria for a good target. Dame Dash and Jay have a long and storied history together, having partnered with Kareem “Biggs” Burke to launch Roc-A-Fella Records in 1996, and nothing can build resentment like the passage of time. As Bun mentioned, this was allegedly an internal struggle, and given how influential Dame and Jay's voices were in any internal Roc-A-Fella conversations, there's no doubt they had some serious battles over the years.
During the mid-2000s, as the Roc's star started to rise, Jay and Dame began to clash even more, eventually leading to their separation as business partners. In interviews about their split conducted in the years since, other members of the Roc have admitted that Dame got a little too big for his britches. Consider what Beanie Sigel said in 2012.
“Dame was spending a lot of company money, going on a lot of trips and to other business ventures, robbing Peter to pay Paul,” he said. “Taking money from outta here and trying to build a brand and stuff, without consulting with his partners. That's what sort of really brought demise to Roc-A-Fella.”
When Dame did take his talents elsewhere, he started up a completely new venture, Roc4Life (which would eventually become Dame Dash Music Group), and tried to undercut Jay by taking some of his talent. That would explain Jay referring to multiple people wanting war in his verse; the shade was directed at Dame, but it also hints at the artists flocking with him to a new label.
Of course, there's one group in particular the two parties had a massive conflict over.
Cam'ron and the Diplomats
This is the answer that probably makes the most sense. Killa Cam and the gang coming to Roc-A-Fella in the first place was primarily orchestrated by Dash, a childhood friend of Cam'ron, and Jay was never really on the inside track of that relationship.
Though the partnership was successful and led to Cam's Come Home With Me going platinum on Roc-A-Fella, there was never a proper level of trust between all parties. Jim Jones and Dash accused Jay of stealing the beat that would become “Izzo (H.O.V.A.)” during a studio session in 2001, claiming the track was originally promised to Cam'ron. To make matters worse, Jay was in Europe and out of the loop when Dame Dash announced at a 2002 listening party that Cam'ron would be promoted to Vice President of Roc-A-Fella; Jay denied the promotion over the phone, and it was all downhill from there.
As it relates to “Get Throwed,” the bars seen up top can probably be seen as a shot at the Diplomats and Dame Dash simultaneously. Dame went off and did his own thing starting in 2004 following the sale of Roc-A-Fella to Def Jam, and he brought his friends along with him. Saying “y'all should want more” could be taken as a hint to Cam'ron, Jim Jones, and Juelz Santana that they were getting fucked over in whatever deal they had with Dash. Since Jay had worked with Dash for the majority of his career up until that point, he probably had an inkling of what they were in for.
Cam's first real shots at Jay didn't come until 2006 when he dropped “You Gotta Love It,” so Jay coming through with the subliminal in '05 may have been enough to prompt a full-scale attack from Cam and Co. later on. And if we're interpreting Cam's first Jay diss as a response to the bars on “Get Throwed,” there's even a not-so-subtle hint to back it up at the end of “You Gotta Love It.” Throwing the war line back at Jay, Cam apologizes to Beyoncé for what's about to go down with her man: “I'm sorry B, but I want a war.”
The real answer to the “Get Throwed” question is that it's probably intended to mock Dash, the Diplomats, and anyone else who was planning to team up with them in order to undermine Jay. The Diplomats were never really known as the most stable set of personalities in the world, so the schizophrenic nod could also be a nod to their eccentric, colorful (in Cam's case, literally colorful) personalities, which are either a flaw or a feature depending on how you feel about their music.
We'll probably never know if that's the answer for sure, because Jay doesn't do a whole lot of talking about old beef these days. But all signs point in this direction, so for now, it's what we'll choose to believe.
UPDATED 9:29 a.m. ET After seeing Kendrick Lamar perform at Coachella last Sunday night, we speculated about what his performance could mean for a potential upcoming tour. From the setlist to the stage design, we broke down what a tour to promote his latest album, Damn, could look and feel like. But as it turns out, we aren’t going to need to speculate about a Kendrick tour for very long, as early Monday morning the Compton rapper announced dates for The Damn Tour on Twitter.
As of now, the tour includes 17 dates and is set to kick off in Phoenix, Arizona on July 12 before making stops in Houston, Atlanta, Philadelphia, Brooklyn, Washington, D.C., Boston, Toronto, and a handful of other major cities in the U.S. and Canada. The tour will conclude on August 6 in Los Angeles.
Kendrick won’t be touring alone, either. In addition to taking his act across North America, Kendrick will also be bringing Travis Scott and D.R.A.M. along with him. You can check out the full schedule below:
Tickets will be available for American Express card members from April 25 at 10 a.m. local time through April 27 at 10 p.m. local time. Tickets go on sale to the general public on April 28.
“American Express ® is excited to continue our partnership with Kendrick Lamar on the heels of his sensational album release, providing our Card Members with early access to his North American tour before the general public,” Walter Frye, American Express' Vice President of Global Entertainment and Premier Events told Complex in a statement. “After two intimate Card Member experiences in Miami and New York last year, we are excited to help bring the memorable experience of Kendrick’s live show to fans around the country.”
Goodbye Justin Timberlake… Hello, ZEDD!? That’s right! One of EDM’s most popular DJ’s will now be taking the place of Mr. Timberlake as the new ‘Celebrity Creative Director’ for Budweiser. Zedd will be featured in a commercial for Bud Light Platinum during the Grammy Awards, airing Jan. 26, this upcoming Sunday night.
Budweiser is no stranger to EDM, having previously worked with Avicii in a Super Bowl commercial in 2012. Now, Zedd will be helping Budwiser debut their new marketing campaign, ‘Turn up the Night,’ in an attempt to tap even further into the EDM culture’s skyrocketing popularity. Mega-Radio hits like ‘Clarity,’ with vocals from Foxes, and most recently ‘Stay the Night,’ featuring the undeniably incredible vocals by Hayley Williams of Paramore, have given Zedd the popularity he so rightly deserves.
Our favorite little German will be debuting his new original, ‘Find You’, welcoming back Matthew Koma and Miriam Bryant to collaborate on the track. Koma helped Zedd out with vocals on his smash hit ‘Spectrum,’ and Bryant lending her’s to ‘Push Play.’
Budweiser initially chose to seek out Zedd for a small scale collaboration. Then, according to Zedd in an interview with Billboard, ‘…we realized how much we could achieve together that we couldn’t do on our own. We both are creatively on the same page and that makes collaborating a lot of fun and gives you the extra hands you normally don’t have.’
At only 20 years old when he released his first track in 2010, Zedd has now proven himself elite amongst the greatest. Bud Lights own Vice President, Rob McCarthy, views Zedd as one of the ‘most exciting artists in music.’ Not just dance music, but the entire industry as a whole! I’ll drink a Bud Light to that…