Beyoncé and Jay-Z collaborative album Everything Is Love stands as a monumental testament to keeping it real.
This is an album concerned with legacy—about what we leave behind, about how we’re remembered.
What could have been a spirited dissection of Jay-Z’s optimistic enterprise is instead merely an advertisement for it.
Starting tomorrow, we’ll predict the winners in all four General Field categories of the 56th Annual Grammy Awards.
House Playlist: Rick Ross & Jay-Z, Sisyphus, Actress, & Lancelot f/ Antony & Cleopatra
Hip-hop titans Rick Ross and Jay-Z have joined forces for a new track from the former’s forthcoming album.
Hoary and pompous, Magna Carta definitively signals the rapper’s shift toward creative insignificance.
Graciously and appropriately, Luhrmann eventually lets his gung-ho predilections simmer down.
However enticing the movie itself may be, the commercialism of Baz Luhrmann’s The Great Gatsby has been oppressive, to say the least.
What she declares about her craft is, thus far, the most telling element of the ever-chugging Beyoncé train.
It’s like 2002 all over again.
House Playlist: Jay-Z and Kanye West, Dirty Beaches, Four Tet, Miranda Nicole, & Gotye
Jay-Z and Kanye West have actually managed to record a song that sounds like a coke-bender.
The album’s powerhouse production turns out to be, as with some of West’s own work, the ultimate ace in the hole.
Make Some Noise” is your archetypal Beastie Boys tune.
Ghosts in the Cottonwoods is without question some of the most raw and intestine twisting theater happening in New York City right now.
We managed to track down the notorious RPG-rap pioneer for a few questions, as he walks us through his most coveted release to date.
Last year, for reasons I don’t entirely understand, Gucci Mane suddenly become a rap critic favorite.
The album is filled to the brim with elite production and rapping, but it lacks the hungriness, spirit, and craziness of a classic.
Even when he’s trying to raise consciousness, Jay-Z doesn’t really have any valid solutions.
If all of Jigga’s future records sound as labored and flat as Kingdom Come, do we really need him back?
Where Bob Fosse edited to the dance, Michael Mann edits to the music underscoring his glossy depictions of extreme violence.