Swizzy did it for all the girls, well sort of as he put together a rawkus set at Webster Hall in NYC to premiere a new song Dance Like A White Girl off his upcoming album Haute Couture with Ruff Ryder EVE.
Controversial rapper DMX will be the first subject of the new season of VH1’s returning Behind the Music, which will first air on June 7 at 8 p.m. The doc will feature interviews with Swizz Beatz, Irv Gotti, Eve and Lyor Cohen, Among the other artists who’ll be profiled during the season are Usher, Courtney Love, Jennifer Lopez, Jennifer Hudson and Christina Aguilera.
During the recording of “The Blueprint 3,” Jay-Z’s latest chart-topping full-length, the Brooklyn-born rapper gleaned something from frequent collaborator Kanye West: how to transform album tracks into arena-sized epics. In front of a sold-out Staples Center crowd on Friday night (Friday, March 26) and backed by a 10-piece-band -- a three-member horn section, two guitarists, keyboardists and two drummers, along with backup emcee Memphis Bleek – the lyricist born Shawn Carter proved he could deliver a similar punch in a live setting. Drawing maximum response from the audience, he playfully asked them to throw their diamonds in the sky and repeatedly thanked them for their support. He even sang “Happy Birthday” to a fan holding a “Birthday Girl” sign.
Jay-Z, the hustler turned rapper turned brand name as big as the borough itself, owned the sold-out Staples Center. “This is Sinatra at the opera, bring a blond,” he rapped on “D.O.A. (Death of Auto-Tune).” And if the spectacle wasn’t exactly Wagner’s “Ring Cycle,” at times it felt like an egalitarian equivalent. A wide demographic mix of the infamously fractionalized Los Angeles was drawn to the 40-year-old rapper who has almost single-handedly spawned the genre “classic rap.”
Many arrived dressed for a Friday night, as though they were gunning for a cameo on “Entourage.” Models clutching Gucci handbags stood among tabloid fodder, Chris Rock, Christina Aguilera, actors in Affliction tees tailed by Barbie blonds and B-boys in baggy pants. A duo donned outfits honoring the 15th anniversary of N.W.A. founder Eazy-E’s death (Compton caps and Eazy T-shirts) -- a milestone Jay-Z neglected to mention when he shouted out, “R.I.P. 2Pac, the Notorious B.I.G., Big Pun, Big L and Pimp C,” following an electrifying a capella denouement to “Big Pimpin’.”
“I can sell ice in the winter, I can sell fire in hell. I’m a hustler.”
Although he has boasted of his entrepreneurial beginnings on the street earning seed money by “flipping a record company from a half a [kilo],” Jay-Z’s renegade independent days are in the past. “I used to duck shots/but now I eat quail/I’ll probably never see jail,” he raps on "Real as It Gets." He’s the mega-star who two years ago inked a reported $150-million partnership with Live Nation Entertainment to advance his Jay-Z brand.
It’s a business that strives to be as ubiquitous as Coca-Cola or Nike. Before the show, big screens solicited the audience to “text BP3” and join the “Jay-Z movement.” Outside along L.A. Live's shrill fluorescent walkways, people signed up to win merchandise made by one of his companies, Roc Nation.
Dovetailing with his corporate successes as the former chief executive of Def Jam Recordings is Jay-Z’s consummate professionalism. One can scoff at the disconnect between his hood tales and his current stature, but there’s no denying his style, or his hits, as impressive a body of work as any rapper ever. From “Ain’t No” to “Hard Knock Life (Ghetto Anthem),” “I Just Wanna’ Love U (Give it 2 Me)” to “Empire State of Mind,” Jay-Z can fill a two-hour set with a keen, razor-sharp lyrical catalog memorized by 20,000 people. And that’s what he did, with his band teasing out the arrangements out to fulfill Carter’s orchestral, “Avatar” sized aspirations.
“I’m on to the Next One.”
Friday’s show presented the latest incarnation of Jay-Z. If his recent work hasn’t been as critically or commercially successful as his early output, it has been his grandest in scope. Other rappers have played Staples, but none with Jay-Z’s worldwide stature. Many have achieved mass appeal, but none have sustained it as long. He eggs the adoring crowd on, “I have 11 No. 1 albums.” But everyone already knows this, which is why they forked over half-a-week’s paycheck for tickets.
His only real misstep of the night was ceding the stage to Young Jeezy for a 30-minute interlude. The Atlanta emcee gamely attempted to fill the void, but in the process illustrated how difficult it is to command such a large crowd. Thankfully, a brief Ice Cube cameo to perform “Check Yo’ Self” appeased the restless.
“I’m from where the hammer’s rung, where the news cameras never come…where the grams is slung.”
The evening’s most poignant moment, a rare respite from the avalanche of explosive lights and flashing LED screens, arrived when Jay-Z delved into his back catalog, performing “Can I Live” and “Where I’m From.” The two tracks served as a reminder that despite his evolution, here was the same Jay-Z who won over first the doubters and then the masses since the summer of ’96. But as great as the original version was, it never could have sold out the Staples Center, or validated the words of “Encore,” the final song of the night, with the line, “I came, I saw, I conquered, from record sales, to sold out concerts.”
Coachella Valley Music & Arts Festival appearance: Apr 16 Indio, CA - Empire Polo Club
Jay-Z European Tour Dates:
Jun 4 Rock am Ring, Germany Jun 5 Rock im Park, Germany Jun 6 Paris Bercy, France Jun 7 Manchester, UK - Manchester Evening News Arena Jun 9 Birmingham, UK - LG Arena Jun 11 Isle of Wright, UK - Seaclose Park Jul 2 Eurockeennes Belfort, France Jul 4 London, UK - Hyde Park - Wireless Festival Jul 9 Oxygen, Ireland Jul 10 Frauenfeld, Switzerland - Openair Frauenfeld Jul 11 T in the Park, Scotland
Alicia Keys stopped at New York City's Madison Square Garden last night (Wednesday, March 17) during her "Freedom Tour" and gave her hometown fans a special treat with surprise performances from Beyoncé, Jay-Z and Swizz Beatz.
Keys first performed new and old tracks like "Love Is Blind," "If I Can't Have You" and a stunning duet with former back-up singer Jermaine Paul -- who also served as an opening act along with Melanie Fiona and Robin Thicke -- for "Diary." But it was when the drums to her single "Put It In A Love Song" blared through the speakers that the crowd got most fired up. After performing her verse Keys introduced Beyoncé, who descended from the top of a staircase located towards the back of the stage and joined Keys for the remainder of the song. Ending in a dance routine, the performance marked the first time the two artists ever shared a stage.
With Beyoncé making a surprise appearance onstage, it was only fitting that her husband would do the same at the self-proclaimed "House that Hovie built." As Keys momentarily stopped playing the piano, her alleged boyfriend, producer/rapper Beatz, took the stage to his own collaboration with Jay-Z "On To The Next One," before Jay-Z himself came out for a performance of "Empire State of Mind." Scenes of Times Square and the city skyline appeared on the jumbo screens behind, setting the perfect backdrop for the Big Apple anthem as the masses sang in unison and waved their hands in the air.
"Thank you so much New York City! Thank you for welcoming me home!" Keys said nostalgically before exiting the stage. "I encourage you to continue to find your freedom, continue to find your way. God Bless you, my hometown. We love you!"
Lil Wayne, Rick Ross, RZA, Swizz Beatz, the Game, Beanie Sigel -- this may sound like a list for the 2010 Hip-Hop Summit, but it's not. It's actually a preliminary list of guests for Travis Barker's first solo album.
"I'm not signing or being an MC or anything," the former Blink-182 drummer tells Spinner. "I think over the last five years, when Blink wasn't around, I played a lot by myself or did a whole bunch of stuff with just me -- whether I was playing with T.I. or doing whatever -- it just opened another world for me."
After Blink-182 announced a hiatus in 2004, Barker became a chameleon of sorts. There were a handful of short-lived side-projects, such as alt-rock supergroup +44 with Blink-182 bandmate Mark Hoppus, the Transplants with Rancid's Tim Armstrong and the rap-rock trio Expensive Taste that produced a mixtape with southern rapper Paul Wall.
Barker then set out on the road with Adam "DJ AM" Goldstein as the DJ-rock duo TRV$DJAM, which faced eminent doom a year ago when a their private learjet skidded off a runway killing two members of their entourage and injuring both Goldstein and Barker. Eleven months later DJ AM would overdose on a deadly mixture of prescription painkillers and cocaine. Given the tragedies, it's incredible that Barker still trudges on. Since he's hopped around working with everyone from Slash to Mary J. Blige, and appeared more recently at the Grammys drumming during the Eminem, Lil Wayne and Drake hip-hop medley, 'Forever.' As his latest endeavors would suggest, Barker admits there's a lot of hip-hop on the solo effort.
"I'm rounding it out right now," he says of the album's many guests. "I just love music. The more I can be around it the better. So with my album -- it's no one genre. It goes from everything from punk rock to hip-hop to some electro stuff on there to a metal song with Corey Taylor from Slipknot. It's been really fun and interesting up till now."
I'm sure the massively popular Game's 'One Blood' put some money in the bank for Junior Reid as it's his sampled voice on the hook.
Recently seen here, Swizz Beatz and Junior Reid are congregating behind the walls of Grind House Studios NYC about to cook up a new Reggae/Hip Hop anthem. Let's hope so.
