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Jay-Z: 4:44

8/2/2017

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​Album Review.
Likes: The Story of O.J., Smile
Overall: Jay-Z's reflective, vintage-ambiance album may reveal more about him than he intended
 
"Can you still be a rapper at 50-years-old?," my father asked in reference to hip-hop paragon Jay-Z, who'll be 48 in a few months. I said "Given that rap is young in comparison to the other genres, there's not a precedent for what would be odd in regard to age." Jay-Z's laid the groundwork for many things in his career; now, he shows what it looks like to still be thriving in a "young man's game" on the cusp of a golden anniversary with his 13th album, 4:44. Developmental psychology submits that the late 40's to early 60's is a time of reflection that often leads to self-loathing, a "midlife-crisis" and/or a needling desire to contribute to the next generation. 4:44 seems to be the "middle-adulthood" stage on wax. Jay-Z mulls over his egomaniacal ways, marital transgressions and hinky friendships (ex. "Kill Jay-Z," "Bam," and the title track). Cuts like "The Story of O.J." and "Family Feud" discuss the perils of cultural dissension, and urge for communal wealth as an attack on generational poverty. In respect to the music industry, he implores his fellow artists not to depend on the suits. Taking no prisoners, he mentions several handlers and executives by name. The most striking exclaim is at Prince's estate lawyer, Londell McMillan, whom Jay-Z scathingly accuses of exploitation (i.e. "Caught Their Eyes").
 
Also on "O.J." and "Feud," Jay-Z expresses his discomfort with being ridiculed and rejected by those he calls himself guiding. In the past, these kinds of sentiments were packaged with glamorous retorting braggadocio. Here, the reserved delivery insinuates a genuine hurt. Yet, there's still a hint of self-righteousness that makes you ask "Can you take yourself off of the cross? We need the wood." On "Smile," he raps: "God sent me to break the chain...N*ggas will rip your sh*t off TIDAL just to spite you; Ahh what did I do, except try to free you? N*ggas will love you, but hate you 'cause they can't be you."

​The hint becomes a flagrant musk on "Moonlight." Lines encouraging wiser business choices and a collective effort to revitalize and re-authenticate rap, collide with those of condescension. "Moonlight" follows the Damian Marley-featured "Bam," which marks a meaningful turn on the album. Jay-Z declares "F*ck all this pretty Shawn Carter sh*t, n*gga, Hov! Shawn was on that gospel shit...sometimes you need your ego." He feverishly renounces his previous presence and regresses to the persona he vowed to "Kill" on the opening track. Moments later, he merrily reminisces about his street days on "Marcy Me." It's like he got antsy, anxious and uncomfortable in the realm of culpability, so he hardened back to a familiar devil. Considering this and his age at the time of the boneheaded incidents he cites, what seems like "midlife on wax" is actually an accidental illustration of the outcomes of extended adolescence.
 
Musically, Jay-Z's records are usually bombastic, theatrical and saucy. 4:44 is arguably distinctive, as it has an understated and composed quality. Principal producer Ernest "No I.D." Wilson reportedly stated that many of the samples used were from Jay-Z's current playlist. Most of them are from the 1960's and 1970's and are stylistically diverse: progressive and psychedelic rock, jazz, funk, soul, reggae and gospel. The selections are at the forefront and allowed to retain their personality, cementing the album's warm, accessible and vintage feel. This also helps set the mood for revelation.
 
Though 4:44 is only 37 minutes, you feel like you've covered a lot of land. It may not be particularly catchy, but it's antique and content keep you in place.

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#EpicFail: Jay-Z's TIDAL, Misguided Millionaires & Cocky Consumers

4/4/2015

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PictureMusic streaming service TIDAL launched March 30th
Somewhere between Sunday night (March 29) and early Monday afternoon, thousands of social media users changed their profile pictures to splashes of turquoise blue and trending #TIDALforALL simply because their music faves (like Beyonce`, Nicki Minaj and Kanye West) did it and/or told them to. People were literally talking of revolutions, movements and change, knowing nothing more than Jay-Z purchased a music streaming service from a Swedish company called Aspiro (which technically was underway back in January). Some didn't even know that much. That was the first eye-roll I had for this news; people are so quick to bandwagon. They knew nothing, but were on board. Groupthink, blind allegiance and stupid human behavior aside, I looked forward to hearing more because given the acquisition and who was involved, I assumed TIDAL would be an awesome, artist-friendly answer to similar services like Spotify, that have been criticized for giving a severely small financial return to the artists they feature (I was partially right, but more on that in a moment). Heightening the hype was this dramatic, star-studded trailer (a freaking trailer; one that seemed ridiculous after the so-called roll-out), building up to the March 30th press conference where all would be revealed and all questions would be answered. We were on the cusp of  "turning the tide and making music history;" it was "the beginning of the new world," as West touted on Twitter. We all know how Yeezy can exaggerate.

Then, a funny thing happened on the way to innovation. Funny as in weird, not funny haha. Jay-Z and his Justice League of recording artists (including Madonna and Rihanna) signed a declaration (that no one saw the text of), said little and then dipped. The conference was short and horribly bereft of information. The central additional thing we learned was that TIDAL is artist-owned (equity stake was offered) and "combines the best high fidelity sound quality, high definition music videos and expertly curated editorial" for $9.99 and $19.99 (for uncompressed CD quality sound) a month. So...does every subscription dime go to the artists? Is there a significant difference in audio between the subscription options? How large is TIDAL's catalog? Who shot J.R.? How many licks does it take to get to the center of a lollipop? Hardly anything was answered and based on what was told, TIDAL was a shockingly unremarkable, more expensive (a negative consumer buzz word) service. "The new world" was a duplicate of the old one, except artists (who so happened to be wealthy) benefitted more this time and consumers (who aren't wealthy) would have less money in their wallet should they break away from pirating and free streaming. Finance and technology blogs pointed out the unoriginal interface and what seemed to be a flawed business model (using  the word 'seemed' because, again, few details) where audience gains would be few and the company's bottom line is just as weak as its competitor's (Jay-Z's response to this is interesting; I'll be getting to it). Just as critical, but far more cutting was the reaction from consumers. Due to the piss-poor presentation of the conference, Jay-Z and crew came off like a bunch of elitist, arrogant, greedy millionaires begging for more money at the expense of fans. #TidalForAll quickly became #TidalForNoOne on social media; people were throwing tomatoes and the well-intentioned "movement" where artists get the income they deserve from their own work in the streaming world versus industry executives and suits, was massively misperceived. 


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Jay-Z: Magna Carta-Holy Grail

7/9/2013

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Album Review by MJ Johnson, Contributing Writer
Favorites: F*** with Me You Know I Got it, Tom Ford, Heaven
Overall: Attractive and memorable production & reflective lyrics, shows the endearing side of Jay-Z

I’m a child of Steve Jobs. I’ve been an iPhone user since the very first version. When Samsung announced their partnership with Jay-Z to deliver 1 million free copies of his new album, “Magna Carta: Holy Grail,” exclusively to Android users, sadness crept into my soul. I’ve always enjoyed Jigga’s music; it evolved as I did. From rough and tumble tales of “Hard Knock Life” in the ‘hood, to the Girls,Girls,Girls and moving “On To The Next One,” Jay-Z’s music has always spoken to me. “Magna Carta” was no different as Hova looks introspectively from where he currently stands, examining his childhood, career and new role as a father. Jay’s smooth delivery glides over a saucy beat on the album’s opener and first single,“Holy Grail” (featuring the soulful Justin Timberlake); a transformative experience that tells a story of love unreciprocated and gives a dichotomous depiction of a glorious life full of thrills. On “Blue,” a track mellowed out like the finest bourbon, the emcee pays homage to the newest edition of the Roc La Familia: his daughter, Blue Ivy. Sharing thoughtful messages from his father, Jay goes through his upbringing. Samples of Biggie Smalls lyrics are laced throughout, perpetuating the nostalgic vibe. Affectionately exclaiming on “My Beach is Better:” “I brought sand to the beach because my beach is better,” this album definitely shows a much more personal, kinder and gentler side of the multimillion-dollar mogul. 

One of the most rewarding takeaways from project are the complex, almost mind-boggling production cuts from Kanye West, Pharrell Williams, Timbaland and a few newcomers. For example, the mysterious and dark beat of “Nickels & Dimes” breathes sobriety into Hov’s flashbacks of cooking dope and selling trees. “Tom Ford’s” exciting mix of percussion and synth makes for a mouthwatering melody and takes us back to the “Big Pimpin’” days. Among the most memorable tracks is “Heaven,” where he addresses the great “Illuminati” devil-worship discussion. At one point, he states “Conspiracy theorists screaming Illuminati…they can’t believe this much skill is in the human body…he 6’2, how the fuck he fit in the new Bugatti?.…Aw s***, you got me.” Throughout the song he adamantly insists that he is in fact playing for God’s team. Ultimately, “Magna Carta: Holy Grail,” represents a new era for the Carters--they do what they want and say what they want. He and his wife, pop-star Beyonce`, have elevated from the ranks of mere artists and business people. For that matter, they may have elevated past mere mortals! “Magna Carta: Holy Grail” is just that…sacred.  

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Beyonce` Gives Birth; Jay-z's Song Tribute

1/9/2012

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As confirmed by representatives for Beyonce`, the pop-star gave birth to a baby girl Saturday. See the official statement and hear Jay-z's tribute song for his new daughter here: http://jsays.weebly.com/8/post/2012/01/jay-zs-song-for-his-newborn-leaks.html
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Jay-Z & Kanye West: Watch The Throne

8/12/2011

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Album Review.
Likes: New Day, Welcome to the Jungle, Murder to Excellence, No Church in the Wild
Dislikes: That’s My Bitch
Overall: Some weak parts, but features intriguing lyrics & unique production


Ever since the release of Kanye West’s defining debut, “College Dropout,” on the Jay-z founded Roc-A-Fella Records in 2004, fans have insisted the pair record a collaborative album. After 7 years and multiple features on each other’s projects, they granted the audience’s request with “Watch the Throne.” Considering the style of the production and some of the pensive lyrics, the rappers were definitely looking to create a classic album.

“Throne’s” production is somewhat thematic and is the perfect mix of today’s and yesterday’s sound, blending futuristic synths and elements of electronica with traditional hip-hop rhythms and some classic 60’s & 70’s soul. Most of the album is lyrically adequate, but there are some feeble points. For example, “Lift Off” has a great hook and attractive production, but the verses are painfully short and barely noticeable. Another weakness is that there are one too many songs in which the rappers singly boast about their success and assets. Granted, boasting is a central tenet in hip-hop, but multiple tracks of just boasting can get redundant and tiring. Also, I’m personally over West’s womanizing lyrics that seem to now have a stronger recurring role on his projects. (ex. “…I said look you need to crawl ‘fore you ball, come and meet me in the bathroom stall and show me why you deserve to have it all…”)

Reminiscent of West’s “My Beautiful, Dark, Twisted Fantasy,” the more meaningful lyrics address the societal turmoil of the black community and discuss the ugly and rewarding parts of fame, while taking time for personal, inward reflection. On the endearing and intriguing “New Day,” West and Jay-z speak to their unborn sons. Jay-z vows to be better parent than his absentee father, and West makes a mockery of what the media has found to be his missteps and lists what he finds to be valid mistakes. All in all, I predict that “Throne” will be well revered and that another collaborative record is in the future. Good album.

If I have any additional commentary on an album from a societal, cultural or fan perspective, I usually save it for a separate article, but since I don’t have too much to say, I’ll go ahead and include it here. Hip-hop and I have love-hate relationship. I see its value as a genre, but there are many things about the culture and the music that I do not agree with. As a woman and feminist, I will never find it appropriate to refer to a woman as a bitch. Most rappers proclaim that when they use the word “bitch,” it’s not in reference to ALL women, just those that are promiscuous or deceitful, but as usual, the rappers contradict themselves. On “That’s My Bitch,” Jay-z and Kanye are speaking of a respectable woman of substance that’s their companion. As a woman of color, I ask and I plea: when do I get to be referred to as your friend, girlfriend or wife and NOT your “bitch?” As a man of color, when will you give yourself and your male counterparts a title of something more exalting than a “nigga?” When? That is all. 

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Beat an Album Leak--Jay-z Style

8/11/2011

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Yearly CD purchases have decreased steadily over the last decade, due in part to internet piracy. Music piracy is now so rampant, albums are leaking online long before their official release dates, ultimately affecting sales. Jay-z & Kanye West’s collaborative record, “Watch the Throne,” successfully hit the market on the planned date of August 8th without any mishaps, however. How did they avoid the leak? Well, according to RollingStone Magazine, having an exclusive release deal with ITunes and department store Best Buy was the key. Industry insiders have concluded that leaks tend to happen because copies of the finished product are stolen from manufacturing plants during shipping. “Throne” was released on Itunes August 8th and will be available at Best Buy on August 12th. By making the album initially available on Itunes only, no shipping is involved. If sales improve as result of this type of release plan, record labels are likely to mass implement it. While this plan seems like a dream come true for the industry, some fans and independent retailers oppose the design. Fans are concerned they may not be able to purchase physical copies if a specific store isn’t available to them and independent retailers won’t be able to sell and profit from anticipated albums. As a consumer, what do you think of exclusive release deals?
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Jay-Z on Oprah's Series "Master Class"

1/1/2011

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As many of you may know, Oprah has launched her own channel called the “Oprah Winfrey Network” (OWN). The original series “Master Class,” profiles the life stories and lessons of public figures like anchor Diane Sawyer and poet Maya Angelou. Jay-z was featured on the premiere episode, and it was truly an intriguing piece, as he discussed his personal triumphs/failures and his views on the music industry. Here's the link to the FULL episode.
http://www.3030fm.com/2011/01/01/oprah-presents-master-class-jay-z-112011/

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Music on Facebook 12/30/10

12/30/2010

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Recent facebook statuses I've posted regarding music:

"I just heard "That's My B****" with Kanye West and Jay-z....when do I get to be called your girlfriend, spouse or friend and not your bitch?!!"

"I imagine that if God could sing, He'd sound like Marvin Gaye. If God is a woman, she sounds like Whitney Houston." -Robin Thicke

“…if I was going to be successful, I had to be successful at myself. I couldn’t be successful at what other people were doing…I had to do what felt true to me. The worst thing to be is successful as someone else. That’s a difficult thing to upkeep and it’s very tiring. I feel sorry for someone who has to walk out the house everyday as someone else to make this art and to make something that people connect to, and whatever you made is not you. You’re not happy about it, but it’s successful….that has to be draining and a very sad existence…”- Jay-z
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The State of The Music: Gimmicks, Aging, Marketing & Consumers

6/6/2010

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Yet another blog were I talk about multiple semi-related things and hope it makes sense LOL.
I was reading a XXL magazine (hip-hop music) feature on Jay-Z (if you don’t like him, don’t stop reading- this post is about the music industry in general), and he said several things during his interview in relation to hip-hop that I thought could be applied to the music industry in general.

Gimmicks, Patterns, Formulas and Trends.
Jay was making the point that hip-hop has taken over mainstream music and culture and it runs the risk of losing its position to other genres as things have been become rather predictable and generic in terms of style and sound. “When a trend becomes a gimmick, it’s time to get rid of it…I saw everyone, because it was successful, following one path…We’re going to open the door for another genre of music. Same way when rock was doing hair metal, it opened the door even wider for hip-hop to come through and put rock in trouble for 10 years or more. Right now, a lot of indie bands are coming out, making rock more interesting...You keep messing around, making generic music, people are going to start turning off one at a time.”
This idea can be applied to the whole industry. In the music industry, it has long been a practice to massively reproduce any one thing that’s a success (i.e. a particular sound or trend like extreme auto-tune or blonde hair). It’s considered a smart business practice, but in regards to art, it makes things redundant. Over the last ten years, the “practice” has turned into religion: EVERYTHING is being recycled and reproduced. This is the reason why so many new artists aren’t lasting; they’re designed to deliver a recycled gimmick, make some quick money for the recording label, then disappear. This is reason why the same “heavyweight” artists don’t have any competition and continue to dominate. We as consumers have to get smarter to improve music. The record labels count on us being stupid enough to buy the same thing over and over, and unfortunately, we often are. For example, we already know that everything with auto-tune sold like hotcake. Or take the songs “Irreplaceable” (Beyonce`), “With You” (Chris Brown) and “Tattoo” (Jordin Sparks). All 3 have a very similar drum and acoustic guitar pattern (It’s no coincidence; they were all produced by Stargate. They changed the same track just enough for them to not be identical). All 3 songs sold like hotcake. We bought the same song THREE times. This “smart” business practice to recycle/reproduce will no longer be smart if we stop buying into it.

Aging in the Industry and Marketing.
In regards to marketing and being criticized for being a nearly 40 year old rapper Jay said: “I think people should make music as long as their heart is in it….If the target market is 15 to 25, that’s too narrow. What am I going to listen to at 26 and beyond? That’s a quarter of my life…We have to expand the genre. I would love to listen to hip-hop all day...everyone is speaking to the kids, thinking that’s the key to success…it’s the lack of growth that will keep us in certain place…you have those guys who are 35 years old trying to make “LOL smiley face”, competing with Soulja Boy.”
Again, his ideas are relevant to the entire music industry. Whatever the genre, once you turn 40, people treat you like you should disappear and stop putting out music. Music is an art and a form of expression. So, what, if you’re 40, you’re too old to express yourself? And if music is who you are, I guess you should stop being who you are. It’s disgusting how we discard artists after years of great music just because we think they’re too old to love music. A couple of different crappy things happen to you when you get older in the industry. If the record label keeps you around, they try to “update” your sound and make you “current” to compete with Soulja Boy (which just makes you look stupid). OR, if they let you keep your old sound, they barely promote you. You lose either way, because the audience ends up not buying your record.

Furthermore, in regards to the target market ALWAYS being 15 to 25, Jay is so right. What do you listen to at 26 when nothing relates to you? Why focus on one target audience? Focusing on one target audience is another practice that’s considered “smart”, but to me, it’s really stupid. Why milk one cow, when you can milk two (In this case getting money from more than one fan base)? Is the music industry A.D.D.? It seems as if currently, there is a pattern of doing one thing at a time. An artist will explore one genre at a time, target one fan base type at a time, either have an “artistic” album or a “commercial” album, or be JUST a great dancer or JUST a great singer. Yet, ironically, in order to have longevity, an artist must be multifaceted, multitalented and multitask.
The “one at a time” approach to marketing may make QUICK dollars for music execs, but it does nothing for the artist. It cuts their longevity short. For example, with focusing on just one fan base at a time, you alienate whoever you’re not focusing on. This will keep an artist from building a fan base that follows them long term. An artist will NEVER have the complete package doing one thing at a time, and therefore will get lost in the dust. But the record execs don’t care whether the artist lasts or not, even though the longer an artist lasts (and is successful), the longer they’ll make money for them. And yet, the execs are supposed to be the smart ones….

Consumers.
MUSIC SUCKS RIGHT NOW. What the hell can we do about it? We can be smarter consumers. It may SEEM like the execs run everything, but the truth is, we DRIVE the industry. We DICTATE the market. We ARE the market. What we buy helps them decide what products to create. For example, if we all bought ONLY oranges, fruit sellers would stop selling apples and only oranges. In music, if we ONLY bought Mariah Carey albums, then they would fashion all artists after her to try to get us to buy it. When it comes to purchasing music, only buy what you want to see more of.
#2, stop falling for the record execs’ games and gimmicks. Don’t be so shallow as to fall for someone with great looks, but doesn’t have a great voice. Don’t play into publicity stunts, gossip and hype. Stop listening to music that you feel is “just ok.” Don’t tolerate “just ok.” Raise the bar. Only buy what you think is “amazing.” Own your power as a consumer.
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Jay-Z: Blueprint 3 College Tour

11/13/2009

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Concert Review.
Vanderbilt University-Nashville, TN.
OMG, THIS SHOW WAS AMAZING.
But first, let me give credence to the opening act. Even if you hadn’t heard of him before, Roc Nation-managed artist, Wale, made you love him by the end of his set. Extremely personable, energetic and fervent, Wale stood out on his own and got my attention to the point where I will gladly go to one of his shows once he starts headlining. Ok, now for Jay-Z.
This is the second time I’ve seen Jay-Z live, and this show was even better than the last. As I learned at the 1st Jay concert I went to, he really knows how to make you hungry for his appearance. He likes to tease you. After Wale finished his set and the crew was done setting up, the lights dimmed and music blasted. People lost their minds instantaneously. Was he finally coming out? Nope. The lights came back on, and the jumbo screen displayed a clock counting down 10 minutes. Sike. You heard this giant “Aw” from the audience LOL. But at least we knew that in 10 minutes, he would actually arrive.
When the clock got to 00:00, the stadium went red, the roc signs were thrown up and people were chanting “HOVA” to the top of their lungs as the curtains pulled back showing the “Blueprint 3” album symbol and the King of Hip-Hop rose slowly from the floor to Rihanna’s opening bars of “Run this Town.” By the time he ran down the stairs to the front of the stage to rap his 1st verse, the crowd was already in high-gear spitting every word with him verbatim.
From that point on, the energy was never lost as he went on to perform for a little over two hours, covering most fan favorites and hits from half of his discography. With 14 albums, it can difficult for an artist like Jay-Z to leave no stone uncovered, but Jay did a magnificent job of hitting all the crucial points. More than half of the “Blueprint 3” was performed, some songs being only a verse, but that did not leave you unsatisfied. As a performer, Jay is elite, professional, focused and dedicated. He brings a certain class that sometimes isn’t seen at hip-hop shows. He takes everything he does seriously and you can see his love the art.

One thing I love to see at shows is interaction with the fans. Jay did plenty of this, taking time in the show to browse the floor and point out particular fans; even mentioning and emphasizing how many good looking women were in the house. Oh, jay. You flirt. Don’t have Bee tryna cut you LOL jk. He also expressed gratitude for fan support, stating that it’s a rare thing for a hip-hop artist to achieve what he has and break major records (like surpassing Elvis Presley for 2nd place on the most #1 albums list). Speaking of the fans, the most remarkable and fascinating aspect of a Jay-Z show is the energy. The fans are hardcore and unbelievably passionate; Jay himself made it clear at times that he was overwhelmed by what was being shown to him. This may not seem unique, but it is. At most concerts, you get an evenly mixed demographic of fans that include everyone from the newbies, to the luke-warm fans, to the flimsy, to the hardcore, and the people who are just there because a real fan made them come. Not the case at a Jay show.

80% are hardcore and serious- they know all the words, they’ve bought every album and magazine, attended every tour and could probably write Jay’s biography. The other 20% are made out of newbies who are on their way to being hardcore. The fans’ admiration and love for Jay is warming, and you can tell that it’s not just about Jay; these people are fiends for art of hip-hop. When you’re there in the mist of this unique adrenaline, you feel like you’re in a meeting for an exclusive club and you want to understand and know everything they do. You want to be a part of the energy and feel the same force. If you’re not a hardcore fan, you want to be. You feel like you’re missing out if you don’t become a member.
One of the things that cracked me up was the male fans. They seemed like excited little school girls watching Jay perform. The amount of guy love flowing from them was hilarious. Another funny thing was how hard these southern kids were singing “Empire State of Mind.” You would’ve thought you were in New York. Southern people are proud to be southern, so it cracked me up to see them go so hard for New York. Jay has such a way of pulling you into whatever he’s doing.
Another thing I love to see at shows (particularly hip-hop ones) is a jamming live band. Jay’s band never failed to rock hard. They really brought his music to life. The set design was impressive, balanced and highly functional. It wasn’t too simple, nor too elaborate. The graphics did all the work. Shown from one multi –panel screen, the graphics were relevant, creative, attractive and fitting for the show. All in all, definitely catch Jay on his next tour and check out Wale.
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    Entertainment

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