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Playtime Is Over is the debut mixtape by Trinidadian-American rapper Nicki Minaj. It was released on July 5, 2007, through Dirty Money Records. It features guest performances from Hell Rell, Red Caf, Murda Mook, Ransom, Gravy, Lil Wayne, Angel De-Mar and Ru Spits.

Minaj was involved in writing all of the lyrics on "Playtime Is Over".[4] Her songs mostly feature either her or another artist rapping, with the chorus from the original instrumental removed. Most lyrics consist of either complicated wordplay or direct insults that establish Minaj as better than other rappers, and suggest that her music is worth listening to.[4] It was argued that the lyrics of the mixtape are deeper than that of subsequent commercial singles.[5]

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Most of the instrumentals on "Playtime Is Over" are sampled from other, more popular songs, and original instrumentals are similar in style. The mixtape features rhythmic, synthesized beats with bass, in a 4/4 time signature.[6] While Nicki Minaj's earlier commercial discography features pop-rap, "Playtime Is Over" is predominantly hip-hop music accompanied by fast-paced rapping.[7][8] "Playtime Is Over" established many of the motifs that are present in Minaj's later work. As Minaj's first published work as an individual rapper, "Playtime Is Over" debuted Minaj use of alter egos such as "Nicki Lewinsky"[9] and engagement with British cockney.

"Playtime Is Over" is the first in a series of mixtapes, all released without a major record label, that were marketed to establish a dedicated, core fan base who identified with the lifestyle described in her mixtape.[10] Minaj established a small fan base before releasing "Playtime Is Over" by communicating with her fans online on Twitter, Myspace, and personal blogs. "Playtime Is Over" allowed Minaj to reach more hip-hop enthusiasts, and activity on social networking sites pushed her mixtapes into the mainstream.[3] The vice president marketing at Minaj's management company said that, following the release of "Playtime Is Over," "We didn't position [Minaj] as music but as a lifestyle."[3]

As one of the first up-and-coming female rappers in over a decade, Minaj's work received a lot of attention.[11] Even though she was a female rapper in a male-dominated genre, "Playtime Is Over" focused on the mixtape's lyrical content and the public responded positively.[3] Fans found her charismatic and serious about her work.[4]

"Playtime Is Over" is considered unique (compared to albums from other, similar female rappers) in that Minaj put a lot of emphasis on the content of the mixtape, instead of on her sex appeal.[10] Minaj's continued emphasis on her lyrical content, instrumentals, and delivery are reasons why Billboard credits Minaj as being one of the most influential female rappers.[15]

1000WORD$: Okay, because when I heard the album, I heard one of the songs that you were basically still trying to construct. I forgot what it was called, but I heard one of the verses that you laid for something else, so I know that you were probably experimenting with that beat.

Stove God Cooks: Yeah, that probably was a joint that I was fucking with. I probably didn't love it, then [Roc Marciano] probably ended up selling the beat, so I just used the verse for something else. I was able to use the verse on something else because the song was never supposed to be heard.

Stove God Cooks: We played the beat for like three, four hours. I left, came back, and Earl's verse was done. That's when I just start singing to myself, "Cocaine on my sweatshirt, ooo."

Stove God Cooks: We were at [The Alchemist's] crib. I was out in LA with Roc. He played me the beat. I'm like, \\\"Yo, this shit crazy.\\\" And Roc was like, \\\"Yo, we gotta get Earl on this shit.\\\" You know, we'd be at Alc\u2019s crib all the time, Earl would be there all the time, Hip-Hop would be there from Roc-a-Fella. We\u2019d just be in there. So we went to Alc\u2019s crib, and Earl was there, and Roc just turned the beat on. It wasn\u2019t my first time in the studio with Alc, but it was my first time recording with Alc, Roc, and everybody in the studio with me. So you know, we played the beat for hours.

Stove God Cooks: We played the beat for like three, four hours. I left, came back, and Earl's verse was done. That's when I just start singing to myself, \\\"Cocaine on my sweatshirt, ooo.\\\"

Lloyd Banks is making plenty of noise with his just-released Halloween Havoc IV: The 72nd Hr mixtape and he's not done yet. The former G-Unit soldier recently revealed that he plans to charge fans $100 for his next mixtape project, Cold Corner 3.

Lloyd Banks just dropped his second mixtape of the year, Halloween Havoc IV: The 72nd Hr, and he's already got plans for his next project. The Queens, N.Y. rhymer jumped on X, formerly known as Twitter, last Wednesday (Nov. 1) to announce that Cold Corner 3 will be a paid release, costing fans $100.

In response to a person who seemed shocked by the rap vet's output of dropping two stellar mixtapes in one year, The Course of rthe Inevitable 3: Pieces of My Pain and now Halloween Havoc IV, the former G-Unit member told the fan his future plans for Cold Corner 3.

It seems that Lloyd Banks is emulating Nipsey Hussle's cash-on-delivery blueprint. In 2013, the late rhymer sold 1,000 copies of his mixtape, Crenshaw, for $100 each. Even Jay-Z was among the buyers and was so impressed by Nipsey's hustle that he copped 100 units himself.

The OneBeat Colombia 2019 mixtape presents the sonic results of this historic gathering of socially engaged musicians from Colombia, Venezuela, and the U.S. The first-ever OneBeat program on the South American continent, OneBeat Colombia took place in El Valle de Cauca, Bogot, and Boyac regions of Colombia in May-June of 2019.

Recorded at various locations in Moscow, including PowerHouse Moscow and Ground Khodynka, the OneBeat Russia mixtape captures original compositions created and arranged by our incredible OneBeat Russia Fellows, Alumni and staff.

This is when things start to get a little weird. The following album was titled Boys Dont Cry but was never released. Its believed that Apple may have footed the two million dollar bill to buy back the rights for Frank Ocean. Ocean still needed to provide an album to Def Jam to fulfill his contractual agreement which brought Endless.

DJ WHITE BEAT whose real name is Attah Moses is a Nigerian Jockey and music artiste born on 8 march born and raise in AGEGE LAGOS STATE is now out with a new mixtape about the xenophobic issues, titled NO TO XENOPHOBIC.

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I am a producer, beatmaker, rapper and sometimes singer. I make all original compositions and then either write, freestyle or both and mix and master and release my music myself.My music has tinges of Christian worship and also touches on darker elements of society in an attempt to expose them for what they are.I am also a tax business founder.

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