Kanye West – Way Too Cold video featuring DJ Khaled (Theraflu video)

Unofficial video, featuring young Kanye West imitator

*Director: Ashley ‘@Ash_Innovator’ Smith
*Executive Producer: CiEsta!
*Cinematographer: Ashley ‘@Ash_Innovator’ Smith
*1st AC: Matt Manning
*2nd AC: Aimee Thomas
*Photographer/B-Roll: Genevievee Evans
*AD: U-U Lalibela
*Gaffer: Charles Baker
*Grip: Dave
*Grip: Genevievee Evans
*DIT: Aimee Thomas
*Editor: Matt Manning
*Makeup: MUA Cheri
*Hair: Rozalyn PauPaw
*Wardrobe: U-U
*Accessories: Tina Catherine Eyewear+Opticians
*Equipment: Alex Resnikoff
*Kanye: Caleb Harper
*Rock Star: Jasmin Marilena
*Ronald Regan: Matt DeCoster
*Laura Bush: Miatta Kemp
*George Bush: Dan Parilis
*Condoleezza Rice: Jennifer Scott
*Donald Trump: Andrew Hsu
*Sarah Palin: U-U Lalibela
*SPECIAL THANKS: Peter Darmi

Yesterday, amidst a crowd of 15,000 fans, two of the biggest names in hip-hop took the stage for a two-hour and forty minute marathon of rhymes and beats. As Ye and Jay rose above the crowd on fourteen foot platform covered in LEDs, you could tell this show would be one for the ages. Spitting their verses on “H.A.M.” from their respective “thrones,” and moving right into “Who Gon Stop Me” without a pause. And then joining each other on one stage to belt out their lead single with pyrotechnics and lasers spazzing all over the Bell Centre: “Otis.”

Did I mention this was only the first ten minutes of the show?

The Throne worked through a large chunk of their new album, and then started taking turns on their solo tracks. Hova was right at it with “Where I’m From,” “Nigga What? Nigga Who?” and coming back later on for “Hard Knock Life” and “Izzo (H.O.V.A.).” It seemed to me like Jay wanted a lot of the stage time to be given to Kanye – who was sporting a skirt/kilt and leather leggings for the better half of the night. For every Jay-Z song, there were three Yeezy songs. While I don’t mind the imbalance, as I’m a bigger fan of Ye than Jay (crucify me now – you have my permission), it still seemed strange to me.

Regardless, Kanye was flawless when it came to renditions of “Can’t Tell Me Nothing,” (that had a laser light show reminiscent of his Glow in the Dark tour) “Jesus Walks,” “Touch the Sky,” and “Good Life.” Heck, the songs I’ve listed are just the tip of the iceberg. The duo went through about forty tracks in total, and Kanye even got the chance to do his eight minute version of “Runaway,” as well as  a powerful sing-a-long to finish off “Heartless.” All while standing on a raised platform, of course… in a kilt.

They got through the majority of their new album. “New Day” was definitely a highlight, with the two rappers just sitting on the stage, spitting their rhymes about being fathers one day soon. And when it came time to finishing off the night, “Niggas in Paris’” Blades of Glory sample came through the speakers – the crowd went off! And when they were finished? Again. Went off for the encore. Came back on. Guess what? They played it again. And when it was done? Jay yelled, “AGAIN!” And finally… one more time. Unless my ability to count was lost, they played “Niggas in Paris” five times. And you know what? The majority of us didn’t mind one bit, dancing and bumping to it like it was the first time it had been played. Every. Single. Time. The Bell Centre hasn’t been so electrified by a hip-hop crowd in a while.

Egotistical much? Yeah, but a well-executed show no doubt. They gave the fans more than their money’s worth in lasers, lights and pyrotechnics. I have no idea if another tour like this will hit your town after this leg, especially with Jay’s baby on the way. If you can make it out to a show, despite the pricey tickets, it’ll be well worth your time. That shit cray.

I want to start by saying that I’ve loyally been with Jay-Z and Kanye from both of their beginnings. In middle school, I came of age listening to Jay-Z’s “Coming of Age” off Reasonable Doubt, and Kanye’s “Slow Jamz” and “Get ‘Em High” off The College Dropout were my high school and college anthems, respectively. I’ll always carry the bond I was first making with rap because of Jay-Z and Kanye’s footprints on the industry.

In some ways, Watch the Throne represents the best of Jay and Kanye. The beats are catchy and varietal, like the rumbling, glitchy one on “Gotta Have It,” or the piano-influenced melody on “Primetime.” Lyrics-wise, I’ll be the first one to concede the metaphor and analogy power on this album. Both Jay-Z and Kanye’s ability to spit witty verses with ease has kept them at the forefront of an industry that thrives on one-upping the competitor. Watch the Throne isn’t lacking in this area.

But underneath the glossy beats that were likely made with some of the most expensive recording hardware money can buy, behind the slick witticisms, is there something more? Something that provokes us to examine an issue more closely, or that helps us to see one more clearly?

There isn’t. Watch the Throne is theatrical narcissism and flamboyant vanity wrapped in pretty packaging. Grand advertisements of wealth and power flourish on the record, as in the song “That’s My Bitch,” where Kanye declares, “I paid for them titties, get your own, It ain’t safe in the city, watch the throne.” Or like in “Murder to Excellence,” which is seemingly supposed to be a tribute to Danroy Henry — a Pace University wide receiver who was shot and killed by police — but instead boasts lines like, “Black excellence, opulence, decadence, tuxes next to the president, I’m present, I dress in Dries and other boutique stores in Paris.” I wonder if it makes any difference to the Henry family that Jay-Z associates with the President or that he wears high fashion. I doubt it.

Perhaps the most egregious offense on the record presents itself on the track “Otis.” The song pays tribute to the late Otis Redding, or the man better known as the King of Soul. It begins with a sample of Otis Redding’s “Try a Little Tenderness,” and then evolves into a rapid beat with Jay-Z rapping about popping bottles, supermodels, and his Rolexes. The video for “Otis” begins with a shot of a Maybach and continues with Jay and Kanye rapping in front of the American flag. How does any of this relate to Otis Redding? you ask. As far as I can see, it doesn’t. Aside from the stolen beat, “Otis” has nothing to do with Otis Redding. Otis Redding is merely the pawn in a track designed to sneakily capture a wider fan base. “Otis” couldn’t be less representative of the life or musical career of its namesake.

Over the years I’ve seen Jay-Z and Kanye rise up from humble beginnings to become the world’s most famous rappers. And in the process I’ve watched both artists buy into the glamour, glitz, and bawdiness that mainstream rap is today. I do realize I risk upsetting many by this honest account of Watch the Throne, but I can’t jump on the bandwagon. The album disappoints on so many levels. Watch the Throne is the direct antithesis of what rap was created for, what it originally grew out of. It’s a slap in the face to the progress that has been made in racial equality. And, most offensively, it’s a flagrant flaunting of wealth in the face people who don’t have it—many of whom ironically comprise a significant portion of Jay-Z and Kanye’s fan base.

If I had to pick one word to describe Watch the Throne, I’d choose irresponsible. It’s the perfect example of two otherwise talented artists who have let fame and power take over their music. It’s the result of two media moguls misusing their eminence and promoting dangerous ideas to society. What we’re left with is a record devoid of meaning, and one that, if not for the hype, would probably be soon forgotten.

The production for “Doggumentary” is deep. Old school vibes that still seem relevant permeate every song. Excluding the obvious ventures in blues, reggae and new wave with certain songs, “Doggumentary” is the old Snoop [Doggy] Dogg style with a new take on G-funk.

Even the elements that are particularly new and fresh have a solid vibe of an old track. Perhaps that’s the specialty of Snoop having been doing his thing for so long. While he may dive into seemingly new genres the sound is distinctly Snoop and is always brought back to a familiar point.

Snoop’s last couple albums were less than stellar, which may dissuade some towards even listening to it. “Doggumentary” is clearly the result of learning from his mistakes. Snoop has overcome the learning curve of incorporating many different artists and styles with a vengeance. Simply put, “Doggumentary” is surprisingly great.

Katy Perry – E.T. video featuring Kanye West

Kanye West – All Of The Lights video featuring Rihanna & Kid Cudi

Kanye West – Amazing video – Egyptian protest interpretive video

Dedicated to all the AMAZING Egyptian men and women behind the peaceful protests.

Background music is © of Roc-A-Fella Records, 2009.

Songwriters: Kanye West, Malik Jones, Dexter Mills, Jeff Bhasker, Jay Jenkins
Producers: Kanye West, Jeff Bhasker
Recorders: Andrew Dawson, Anthony Kilhoffer
Keyboards: Jeff Bhasker.
Background vocals: Mr Hudson, Tony Williams
Mix engineer: Manny Marroquin
Assistant engineers: Christian Plata, Erik Madrid

Many thanks to Channel 4 News, PBS, Daily News Egypt, CBS, Al Masry Al Youm, Al Jazeera, HBO, Newsweek, Russia Today, Associated Press and IBN for the footage.

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