New Boyz Skinny Jeans And A Mic Full Album Zip
Thibaut Silverman
DC: Oh no I just heard about it and saw pictures.
BJ: That tour was crazy! That was one of the biggest tours we were on. Shout out to all the artists that were on there, (Bow Wow, Fat Joe, Snoop Dogg). We had a lot of fun on the tour.
L: The jerk is the movement of the legs where people groove. Everyone thinks the jerk is the reject, which is the dance with the backwards running motion. It started in Los Angeles and was a gang banging dance originally, then teenagers seen the dance and started to adopt it. We made a song about the dance, which was our first single.
J: You guys also have your own style with the skinny jeans. Now were the skinny jeans apart of the movement?
BJ: Yes sir the skinny jeans were defiantly part of the movement. The jerking movement was not only just a dance but a whole culture. It was like a business and helped young kids to grow more business orientated by branding themselves.
New Boyz were an American jerkin' duo that consisted of rappers Earl "Ben J" Benjamin and Dominic "Legacy" Thomas. They collaborated with The Stunners on their single "Dancin' Around the Truth".
In the summer of 2009, the New Boyz' single "You're a Jerk", based on the local dance style of jerkin', became a national hit. "You're a Jerk" peaked on #24 on the Billboard Hot 100 and #4 on the Hot Rap Tracks charts.[1] The New Boyz' debut album Skinny Jeanz and a Mic was released in September 2009. Released by Shotty and Asylum Records, the album peaked at #56 on the Billboard 200 and #8 on the Top Rap Albums charts. "Tie Me Down", featuring Ray J, was the second single from the New Boyz' debut album; that song contained Auto-Tune. "Tie Me Down" peaked at #22 on the Hot 100 and #5 on the Hot Rap Tracks. . In July 2010, New Boyz collaborated with Virgin Islands singer Iyaz on the song "Break My Bank", which peaked at number 68 on the Billboard Hot 100. New Boyz will release their second studio album, Too Cool to Care, on May 17, 2011. On the album, the duo plans to focus less on the "jerkin'" aspect of the music, instead emphasizing more diverse influences. Legacy stated that on the previous album, listeners "were more focused on these dudes wearing skinny jeans, 'they are making jerk stuff,' so that's why we made sure on this second album, we let it be known that we can go in." The group plans to experiment with other genres besides hip-hop, including rock. On February 15, 2011, New Boyz released their second single off the album "Backseat", which the song features The Cataracs and Dev. On May 7, 2011 Too Cool to Care was released it sold 30,000 copies in the first week. The third single off the album was "Better with the Lights Off" which featured Chris Brown, The single debuted at number 61 on the Billboard Hot 100 as a promotional single. After being officially released, it re-entered the chart at number 75 and reached a peak of number 38.
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Relaxed skinny fit stretch denim jean in 'black marble'. A signature 'boy skinny' fit from R13. Low-rise. Classic Five-pocket styling. Signature topstitched detailing at front waistband and back pocket. Leather logo patch in back waistband. Zip fly. Tonal hardware. Color: Black Marble. 92% Cotton, 6% Elastomultiester, 2% Elastane. Made in Italy.
Blue denim mid-rise unisex jeans with classic five-pocket styling and topstitched front seams to create a sporty jock strap effect. Slim fit, slightly tapered leg. Yellow topstitching throughout. Zipper with button closure. Belt loops at the waist. Color: Indigo Wash. 100% Cotton.
There appeared to be something in the pop-punk waters in 2003. Barely a month went by without a bunch of angsty white guys sporting skinny jeans, button ups and choppy bangs releasing a career landmark.
For some, 2003 saw the debut album that introduced their talents to the world. For others, it was the long deserved mainstream breakthrough after years of toiling on the punk circuit. And for one particular band, their 2003 release was the chance to show they could offer more than toilet humor. But all no doubt benefited from the commercial resurgence of the genre spearheaded a year previously by the likes of Good Charlotte, Simple Plan and Jimmy Eat World. Here's a look at 10 albums released in 2003 now old enough to throw themselves head first into a mosh pit.
Fall Out Boy were still only on the cusp of adulthood when they recorded debut Take This to Your Grave in conditions producer Sean O'Keefe would compare with going to war. That mix of youthful exuberance and constant creative tension, however, would produce a genuine game-changer.
Drawing upon their love of pop culture and sardonic sense of humor, the quartet tackled typical adolescent themes of alienation, disillusionment and unrequited love like few of their peers had done before. Take This to Your Grave fused the heavy riffs and unclean vocals of the band's Chicago hardcore beginnings with pop-punk melodies into a self-described softcore sound. The album was the beginning of Fall Out Boy's prolific catalog and essentially set the blueprint for every regular Warped Tour act that followed.
Thrust into the limelight via a well-received "MTV Unplugged" session and surprise win at the VMAs, cult favorites Dashboard Confessional had to deal with a new weight of expectation for their third album.
Those who'd meticulously pored over Chris Carrabba's previous musical diary entries may have been worried when the one-man-band hired a permanent trio of backing musicians as well as hotshot producer Gil Norton (Pixies, Foo Fighters). Yet as its earnest title hints at, A Mark, a Mission, a Brand, a Scar largely sticks to the compelling stream-of-consciousness heartbreak and dynamic quiet/loud emo-rock that turned the frontman into the burgeoning scene's ultimate poster boy.
Seemingly unconcerned with any sellout accusations, Yellowcard relocated from Florida to Los Angeles in 2000, a move which eventually paid off when they landed a deal with Capitol Records. Boasting several songs inspired by their Jacksonville hometown, including the Top 40 title track described by Billboard as the soundtrack to "thousands of overnight camp romances," their fourth studio album suggested the band were keen to show they hadn't entirely abandoned their roots.
Ocean Avenue doesn't deviate too much from their intriguing previous template, either, with Sean Mackin once again proving electric violins and power punk can make for surprisingly harmonious bedfellows. But ruminations on growing older ("Twentythree") and fatherhood ("Life of a Salesman") also hinted that the ever-changing outfit had matured during their time in the bright lights.
Spawning only their second Top 40 single ("The Science of Selling Yourself Short") and charting at a career high of No.45, Anthem remains legendary skate punks Less Than Jake's commercial peak. The band's fifth album is full of energetic cautionary tales, both fitting in with and warning the thriving pop-punk scene.
Brand New named their second studio effort after the French for "heard before" as a pre-emptive measure against their critics. This would suggest that Deja Entendu mines the same brand of pop-punk and teenage angst as their 2001 debut, yet it's actually a marked departure.
Deja Entendu combines elements of post-hardcore, alternative rock and emo with mature themes of love and death and more film references than a Quentin Tarantino box set: titles include the Home Alone-quoting "Okay I Believe You, But My Tommy Gun Don't" and "Jaws Theme Swimming." It's little wonder that major label Interscope subsequently came calling.
After five albums of self-produced gothic-tinged hardcore punk, Californian outfit AFI suddenly appeared to make a concerted bid for the mainstream. They leapt from indie label Nitro to major Dreamworks and unleashed their rage inward instead of against the world, hired Butch Vig (the man who guided Nirvana's Nevermind to blockbuster success), and incorporated choirs, string sections and even spoken word.
Their distinctly Bay Area sound became a multi-layered affair with radio-friendly sheen, and catapulted the scene stalwarts to mainstream success. Sing the Sorrow went all the way to No. 5 on the Billboard 200, but impressively still sounds resolutely AFI.
Saves the Day found themselves mercilessly dumped by Interscope within weeks of their fourth album's release. Yet, without any major support, the 12-track In Reverie charted at a career high of No. 26.
An intriguing second collaboration with Elliott Smith producer Rob Schnepf, In Reverie shrouds its grisly lyrical imagery (talk of rotting flesh, bottles breaking on faces and veins tied up in knots) in a contrastingly peppy power pop. Saves the Day's sound was inspired by frontman Chris Conley's new-found love of the Beatles. Thankfully, the Princeton outfit bounced back to continue their own magical mystery tour.
In their place were soul-searching meditations on failed romances, unexpected ventures into New Romanticism, post-hardcore and gothic pop, and even a guest appearance from the Cure's Robert Smith. Mark Hoppus revealed he wanted the public's reaction to be, "Wait a minute... that's Blink-182." As exemplified by career-best "I Miss You," the surprise was a pleasant one, too.
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