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“Did 2 Chainz already perform?” my friend asked as we pulled up to the amphitheater gates. He had just checked the time as we got off the bus – it was 9:30. We were worried that we had missed his set; hoping (but not necessarily happy) that we had just missed T.I.

“He just got off stage,” the amphitheater staff member told us. “Wayne’s ’bout to go on next.”

Our spirits sunk. We turned to the rest of our friends who were filing in behind us to tell them the bad news. The look on their faces was that of devastation. Forget the fact that we hadn’t missed the headliner – we missed 2 Chainz. And I think that’s about the point that I realized how weird the landscape of Hip-Hop has become.

Lil’ Tunechi

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I’ve been to a lot of shows in my day. Sometimes, they’ve been in tiny little local venues with not ten other people in the crowd. Sometimes, they’ve been in stadiums—like the Taylor Swift concert I went to on Saturday night at Gillette Stadium. Okay, I’ll give you a few minutes to judge me, musical elitists. But yes, I paid an obscene amount of money to dance and sing along in the pit at the show of America’s most beloved serial dater and I don’t regret it for a second.

A lot of people have a lot of opinions on Taylor Swift. Some of them are violently negative, some of them are violently… positive (actually, though—there are people out there doling out death threats to those that don’t like her, aren’t there?). There are some indisputable facts behind these opinions, like that her album Fearless is the most-awarded album in the history of country music, or that—if you’re into dudes—she’s probably dated your celebrity crush (and you kind of hate her for it #Haylor2012NeverForget). As someone who—reluctantly at first, and then wholeheartedly—enjoys Taylor Swift’s music but enjoys her as a person a bit less enthusiastically, I would like to go on record stating that Taylor Swift is the absolute best at what she does.

Now, I had thought I’d seen it all in terms of teenage hysteria when I saw One Direction at Jones Beach last month. But this was my first Taylor Swift concert, and I don’t know if it was because there was a much larger crowd, or Taylor’s been around a bit longer, but this was a whole different monster. In one group of girls, each had a cardboard letter around her neck and when they stood in order they spelled “T SWIFT,” and they walked in circles around Patriot Place for a solid hour before the stadium began admitting people, just screaming nonsense. There was one girl in a red semi-formal dress who took it upon herself to entertain us with karaoke versions of Taylor’s songs on the stairs next to CBS Scene. One girl literally painted her entire body red. There were parents, there were teenagers, there were young kids, there were girls dressed up as KISS (???), there were bros decked out in homemade TaySwift gear and there was even one creepy middle aged guy dressed as a king at the show alone (you bet we all kept an eye on him). I learned a lot about Taylor and her fans that evening. Here are some of those things:

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On the night of July 12, 2013, four of my friends (I’m not typically one to name names, but for the purposes of this piece and clarity, it seems necessary: Laura, Tommy, Mike and Ray) and I met in Brooklyn, packed into Ray’s black Hyundai and departed the five boroughs. Our destination lay on the South Shore of Long Island, around forty miles and an hour outside of the city. We were to meet another one of my friends, Conor, at the Nikon at Jones Beach Theater in Wantagh for what was to be a concert event of the summer, for all the right and wrong reasons. Phish, the legendary genre-disregarding jam band which has been pounding the musical pavement for thirty years, was to perform that night, and if every other Phish show was any indication, it was going to be a night to remember. And so it was.  Read More

Genres of music are being broken down into very specific, micro classifications due to the tags that taste makers, music bloggers, and critics fabricate to identify a certain styling that has yet to be labeled. At times, it can be difficult to keep up with but, at the same time, they are very fun to explore. Each week, I will explore a different sub-genre and try to explain the stains left on my shirt after climbing out of each tedious rabbit hole of musical stylings.

Shabba Ranks, one of Ragga’s biggest toasters

“Mercy”“Crown”, “Blocka”, “Send It Up”, “I’m In It”,“Feds Watching” – besides all being songs that revolve around the nucleus known as Kanye West, they all contain an element of dancehall reggae, specifically Ragga music. While it may seem like a new phenomenon to a younger generation, this infusion of Ragga into Hip-Hop is nothing new. KRS-One, Black Moon, Smif-N-Wessun, Heltah Skeltah, and other East Coast acts of the early ’90s were using the vocal flows of Ragga deejays to formulate boom-bap. Now, Ragga samples are being pumped into trap music and Kanye’s acid house/industrial grind nightmares in a way that seems to clash with the syrupy, pounding production that utilizes it. The closest Ragga comes to a full reincarnation in the current landscape is through artists like Waka Flocka Flame, A$AP Ferg, and Trinidad Jame$ whose high energy, rapid fire delivery, and call and response choruses punctuate their most famous songs. But, what is Ragga and does its stylings have any long time staying power?  Read More

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When I think about Jay-Z’s Magna Carta… Holy Grail, there’s one lyric that won’t stop bouncing around my brain. It’s eight years old: “I’m not a businessman, I’m a business, man.” I mean, how else could Jay sell a million records before anyone even knew the album existed?

MCHG was announced in conjunction with a $5 million deal with Samsung that allowed one million of its smartphone users to download the album for free five days before its official release. It’s a testament to Jay-Z The Musician’s immense popularity that Jay-Z The Businessman (or Business, Man) could even make such a deal, but it’s also the epitome of “selling out.” And therein lies the problem with Jay-Z: I love him as a musician. I’m impressed by the way he has progressed from the gangster braggadocio of Reasonable Doubt to the King of the Rap Game braggadocio of Watch the Throne, and everything he’s done in between. I love how he proves you don’t need an MBA to be a brilliant business man. But can he continue play both roles?

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A lot has changed for Jay-Z since 2011’s Watch the Throne, which serves as social commentary from the top wrapped in a luxury item inventory. His empire has grown tentacles, his influence growing almost on a daily basis. The Brooklyn Nets opened their home at the Barclays Center. Then, he sold his share of the team so he could represent athletes with Roc Nation. Even Magna Carta Holy Grail is a record that is more business than personal. The marketing scheme surrounding the album was based on an app which only Samsung Galaxy owners could download on Independence Day – all others had to wait until July 9th. This is Jay-Z cementing his brand while increasing his bottom line. But, all is not golden at the top of the world.

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The intermittent drum roll kicks in. Benny “The Jet” Rodriguez is hurrying Smalls out of his house as the sun sets over Smalltown, USA (or some neighborhood in Los Angeles County). Smalls runs out of the house; Benny follows. The crew is waiting for them in the cul-de-sac: Yeah Yeah, Hamilton Porter, Kenny, Bertram, Tommy and Timmy. They all rush past a block party (with the exception of Porter, who makes himself a hot dog) and head straight for their favorite haunt and the movie’s namesake, The Sandlot.

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Genres of music are being broken down into very specific, micro classifications due to the tags that taste makers, music bloggers, and critics fabricate to identify a certain styling that has yet to be labeled. At times, it can be difficult to keep up with but, at the same time, they are very fun to explore. Each week, I will explore a different sub-genre and try to explain the stains left on my shirt after climbing out of each tedious rabbit hole of musical stylings.

PBR&B (also known as indie R&B, alternative R&B, or, yikes, urban contemporary) is a relatively new sub-genre that was slapped with this distinction around the time that artists like Frank Ocean, Miguel, How to Dress Well and Theophilus London started to drop material. The sound of PBR&B is more or less defined by an exchange of ideas from several other genres such as EDM, hip-hop, rock and soul. It draws greatly upon the influence of R&B from generations past and filters it through a modern lens. The best examples of this are Ocean’s Channel Orange and How to Dress Well’s Total Loss. The former utilizes a lot of the same style techniques from legends like Marvin Gaye, Al Green in a lush, hip-hop oriented soundscape, while the latter feels more like a Ralph Tresvant record set to Gregorian chants. The artists that represent the sub-genre also diverge from the common theme that dominates the narratives of its standard bearers.

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