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Spotify for Artists is no doubt a great tool for managing your artist profile, seeing how your releases are performing with streaming, engagement, listeners & followers stats, playlist coverage for all your released music and there’s an easy route for you to pitch new releases.
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Having been heavily Influenced by the UK grime and rap scene, JD Cliffe knew from when he was young that music was his path of choice. As a North Londoner, he always got figure heads in the local area to take inspiration from, citing Skepta and JME’s Boy Better Know as a monumental force in his development. Now paving his own way as a rapper, JD is flying high off the back of ‘Go’ and ‘Wintertime in London’, the two singles that complete his 2022 output so far.
With summer in full-swing, the North Londoner is readying up for a special live performance on Thursday July 28 at the halley, the beating heart of London’s creative community. Curated by DMY, the event features an exciting all-rap line-up, including Bournemouth wordsmith Jaish and South East London’s Le3 bLACK. Free tickets for the show are available here.
As the halley show edges closer, we spoke to JD Cliffe to get the low-down on his favourite ever rap performances. From fellow North Londoner Skepta, through to Kanye West and Tupac, this is an all-star list featuring some of the genre’s most iconic moments.
“I remember watching this on TV and just thinking to myself this is absolutely crazy, the fact Kanye bought like 100 people on stage with him at the Brits with a couple of familiar faces (Skepta, Novelist, Jammer) just mobbing it out is what made this epic. Complete with the flamethrower, this is my favourite performance just based off how hype everyone on the stage was and what it meant for the UK that Kanye was giving the co-sign to our artists by bringing them on stage with him.”
“All i can say about this performance is ICONIC. Tupac’s character really shows in this performance and makes you understand why he is seen as one of the best rappers of all time, bonus points for Snoop coming out as well, this is one of those performances I will show my kids.”
“This was such an important performance from Dave as it highlighted the inequalities seen in the UK. The fact he did this on such a big platform as well just added to the greatness of it all. These kind of moments are what solidifies Dave as one of the UK goats.”
“This is just an epic performance, DMX performed to what seemed like the whole world, it’s one of those performances that has to go down in history. DMX performed anthem after anthem to a crowd that was so hyped up. RIP DMX!”
“Hustla babyyyy, the smoothness J Hus showed in this performance is everything. Especially given the fact he covered such a classic track. The way the band deconstructed this along with Hus’ lyrics and presence made this a top 5 pick for sure.”
“This show was just complete rage. The fact that for the majority of the show you can only see Carti’s silhouette just adds to the cinematic energy of the whole performance. Paired with the energy from the crowd and Carti’s hits, this is one show that I wish I could have witnessed live.”
“The replay value of this performance is crazy, I stick this on probably once a week. The way they deconstructed all the tracks with the band was artful, plus I love the NPR set up, very chilled intimate vibes.”
“This was Skep doing his thing best. Straight up bars from my childhood which I know every word to, energy must have been mad…Instant wheel ups for this one.”
“The choreography of this show is what really appealed to me. Just how clean and in time everything was, also the fact it was at the biggest stage aka The Grammy’s just added to the grandness of it all.”
“This was a crazy moment for UK culture. It was kinda like the co-sign from Drake that the UK was next up, also the energy looked like it was crazy with Section Boyz and Skep giving a mad performance.”
The introductory lines of Ayo Agunbiade’s song that speaks about — and to — his late Ma, Teresa Ann Ward, capture the musician’s philosophy as he strives to impart meaning to life, loss and love. Although many of his songs pay tribute to an imperfect and sometimes painful past, Agunbiade’s eyes and heart are fixed in one direction: forward.
In a song titled “Up,” the hip-hop artist recounts a journey that has taken him from an impoverished childhood in Prince George’s County, Maryland, to academic and career achievements that once seemed out of reach:
Today, as a senior academic advisor in the Poole College of Management, he’s helping NC State students chart their own paths in uncertain times.
“I’ve made a career out of working in higher education because of how much I value education and how transformational it has been in my life,” he says. “When I went to college, I recognized that I needed to be successful there if I didn’t want to go back home and sell drugs or pump gas, something like that.”
Success in the classroom didn’t come easy, but Agunbiade kept moving forward, earning a bachelor’s in communication and a master’s in education.
“Getting those degrees was the most gangster thing I’ve ever done in my life, because I didn’t have anyone ahead of me who took that path,” he says.
Your Words Against Theirs
His journey as a musician began in high school, where he participated in impromptu rap competitions.
| Ayo Agunbiade, right, and TreAlise work on a mix with audio engineer Michael Reeves at AMI Studios in Raleigh. Photo by Rachel Agunbiade |
“Pretty much every day at lunch we would have these freestyle battles, and it was the best part of the day,” he says. “Somebody starts to hit a beat on the table, and it’s you versus whoever has the boldness to step up. It’s you and your words against theirs, and the winner is the one who can come up with the cleverest lines and just keep the flow going.”
Music took a backseat to football in Agunbiade’s life for a while, but after high school he found his voice — and an outlet for his emotions — in composing, recording and often producing his own original songs. He’s released two albums, Destiny in 2017 and Destiny Reimagined in 2018, as well as a slew of singles available on streaming platforms such as Apple Music and Spotify. And he appeared on a 2020 album, Dean’s List, produced by a rap collective called the Great Minds Alliance.
The name he writes and performs under — iYo the Philosopher — is a nod to his reputation for thinking deeply (or in the words of a friend, “overthinking”) about his life and the world around him.
“A lot of my music is autobiographical,” he says. “Through music, I’m able to process my own feelings and sometimes come out with something that I didn’t quite expect. Sometimes, something that was deep in my soul just kind of pours out. I can’t keep it all bottled up for so long.
“It’s more cost-effective than a therapist.”
Grief and Loss
His mother’s death in 2010 left Agunbiade struggling to cope with his grief and loss. It was, he says, a dark time.
“My mom was my best friend, and it took me a really long time to properly grieve,” he says. “One thing that helped me through is understanding that even though my mom is no longer here in the flesh, she lives through me. I cannot be me without the impact that she had on my life.”
In “Teresa Ann Ward,” a song celebrating her life, he marvels:
The music video for the song, directed by Joey Gizzi, features the singer TreAlise, whose soulful vocals on the chorus float above Agunbiade’s somber rapping. The cinema verité work, shot handheld with available light in and around a desolate city park, was named best music video at the 2020 Longleaf Film Festival.
Agunbiade first teamed up with Gizzi in 2017, when the pair worked on a music video for the song “Riot,” an antiracist anthem inspired by the Black Lives Matter movement.
“There was a string of Black men getting killed on camera, and I had this song on one of my old mixtapes that dealt with that,” he says. “I put an ad on Craigslist looking for somebody to shoot the video, and Joey responded. He charged me basically nothing because he was just getting started.
“It turned out to be a really good video, but even more interesting is the fact that after that video, Joey’s skill and his talent just sort of skyrocketed.”
Since then the pair have worked together on several other video projects — and won more awards. It’s a rewarding collaboration that seems to come easily to both. “I’ll have an idea and I’ll share it with Joey, and he’ll just take it to the next level,” Agunbiade says.
His focus on racism and other social issues in his music reflects his struggle to make sense of the times.
“I’m a little lost in terms of where we are as a society,” he says. “It doesn’t even feel real; it feels like a dream that maybe one day we’ll wake up from. But there’s so much going on, and the tensions are so deep. I don’t ever remember a political moment in my lifetime that was so polarized.
“People can’t hear each other anymore.”
Visible Man
It’s one of the reasons Agunbiade values his work at NC State, where he’s part of a small percentage of Black men in leadership roles. Working as an academic advisor gives him an opportunity to counter racial stereotypes and support the school’s efforts to promote a welcoming environment for everyone.
“Most of my students don’t look like me,” he says. “And some have told me that it’s their first time interacting with a Black man in a position of authority. So I get to introduce them to someone who is supportive, reliable, accountable — all these good things, but with a different skin color.”
For Black students, Agunbiade’s visibility sends a positive message.
“I appreciate that the students who do look like me have someone who actually looks like them on the staff,” he says. “Because there aren’t a whole lot of us in the college or across the university.”
Counseling the Whole Person
Not all of Agunbiade’s music deals with weighty issues or unresolved emotions. “Butterfly,” a catchy 2021 single, is a sweet and sometimes spicy ode to his wife, Rachel. The couple met working together in the Academic Support Program for Student-Athletes.
“My life philosophy that there’s joy to be found, and we have to find it,” he says. “No matter what we’re going through, we have to work our way back to it.”
This post was originally published in NC State News.
Actress and Grammy award-winning artist KaMillion is no doubt doing it big and killing the game. The former Love and Hip Hop Miami regular and Jacksonville, Florida native has written for some of the biggest stars in the music industry, including Missy Elliott, Diddy and Rihanna. Most recently KaMillion was tapped to play the role of Mia—a single mother who moonlights as a makeup artist but is an all around hustler and aspiring rapper—in the new HBO series Rap Sh!t. The series features classic songs from Trina for an authentic Miami feel.
Ahead of her Rolling Loud performance this weekend in Miami, KaMillion shared with EBONY her 4 favorite beauty must-haves. Get into her look below.




According to Supreme Court of Canada, songwriters are entitled to just one royalty – not two – when their music is streamed or downloaded through an online service.
The top court’ clarifies the meaning of a Canadian copyright law provision dealing with communication of a work to the public online on Friday.
Canada made this provision after signing on to an international treaty that obliged member countries to protect on-demand transmissions and give authors the right to control when and how their work is made available for downloading or streaming.
The Copyright Board of Canada ruled the legislative provision meant that making a song or other artistic work available was a separately protected activity for which there must be compensation.
The board said this entitled rights holders to two payments when a work is distributed online: one when it is made available on a platform such as iTunes or Spotify, and a second when it is actually streamed or downloaded by a listener.
The Federal Court of Appeal tossed out the board’s decision.
The Society of Composers, Authors and Music Publishers of Canada and Music Canada, which represents major record labels, asked the Supreme Court to overturn the Court of Appeal’s decision and adopt the board’s interpretation.
Parties including Apple Canada and major telecommunications companies said the court should reject this position on the grounds copyright law does not require payment of two royalties each time a work is streamed or downloaded.
In writing for a majority of the Supreme Court, Justice Malcolm Rowe said the Copyright Act does not exist solely for the benefit of authors.
“Its overarching purpose is to balance authors’ and users’ rights by securing just rewards for authors while facilitating public access to works,” Rowe wrote.
“When this balance is achieved, society is enriched. Authors are encouraged to produce more works, and users gain access to works which they can use to inspire their own original artistic and intellectual creations.”
The court said the board’s interpretation undermined the purpose of copyright law, violating the principle of “technological neutrality” by requiring users to pay additional royalties to access works online.
“This principle holds that, absent parliamentary intent to the contrary, the Copyright Act should not be interpreted so as to favour or discriminate against any form of technology,” Rowe said.
“It protects authors and users by ensuring that works attract the same rights and give rise to the same royalties regardless of the technological means used to distribute the works.”
The Copyright Act provides authors with rights related to the reproduction and performance of their works.
“Similar to offline distributions, downloading or streaming works will continue to engage only one copyright interest and require paying one royalty – a reproduction royalty for downloads or a performance royalty for streams,” Rowe wrote.
Under the law, a work is “performed” as soon as it is made available for on-demand streaming, he added. At that point, a royalty is payable. If the work is later streamed by a user, no additional royalty is payable because the stream is part of a continuous act of performance that began when the work was made available.
The value of these rights was not at issue in the appeal, Rowe noted. Therefore, setting the appropriate royalties when these rights come into play is a matter for the board to decide.
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