#Jäy

[spaceoperajay]

JAY WHY DID YOU MY IMORTALED ME??

"MWAHAHAHAHAHAAHAHAHAHAAHAHAHAHAHHAHAHAHAHAHAHAAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAAHAHAHAHAAHAHAHAHAHAHAHAHAAHAHAHA," Jäy laughed goffickly and sexiiiiiiily

[inmyxtery]

⩇⩇        ⊹          ✸ — x_cape‚  .  🪨 繼續追蹤。 !     ،،   🪵    ʬ. JäY

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[blackcelebritybirthdays]

Chris Jäy @officialchrisjay Born: May 26, 1995 #Black_Celebrity_Birthdays #Chris_Jay https://www.instagram.com/p/CAq0tgGlvId/?igshid=zmvyf3gjyk0g

[rnrdetroit]

Hour 1 by Jason Hogans 🎶 1. Something • Blake Skowron 2. hopscotch. • Whereisalex 2. Staccato Swing • Benny Golson 3. Waltz For Zweetie • Joe Henderson 4. Agenda • Swørn 5. Away with the Fairies • Sleepy Fish, Philanthrope 6. Slowtrip • Sugi.wa 7. Entanglement • West1ne 8. Feel The Real • David Bendeth 9. Rough Rider • The Hygrades 10. Give Me The Sunshine • Leo’s Sunshipp 11. iii’s Front • Overmono 12. John Brown’s Body • Milt Jackson 🎧 Hour 2 by John Briggs 🔊 1. Saturn - alphabet boy 2. Myth Made Real - Three Eyes 3. Just Got Faded In Florida - jäy (pronounced 'yay', like cocaine) 4. Forgotten - Turtledoves 5. Slipstream + Magnetic Highway - Sushant Thatte (Ft. Rahul Nadkarni on Guitars) 6. 110 Electronic 4 On the floor - Spero Meliora 7. Phosphenes - oDDling 8. Into The Woods - Tycho 9. Ivory - MinimusNoah 10. Nanopunk - Ghost Memory 11. Computer Love - Kraftwerk 12. Leave Me Here - Martin Iveson 13. Lusty - Lamb https://www.instagram.com/p/B0JT6G9lnDG/?igshid=19c6aojy60776

[badlands75]

Badlands75RT @TheRealA_Jay: Gather round kids for the legend of Bo Jackson... https://t.co/6IIR8Mrmnw

Gather round kids for the legend of Bo Jackson... https://t.co/6IIR8Mrmnw

— A-Jäy (@TheRealA_Jay) December 19, 2018

from Twitter https://twitter.com/Badlands75 December 19, 2018 at 04:25PM via IFTTT

[100undergroundempire]

via 100 Underground Empire

[allofhertwist]

Kingdom Coming of Age

JAY-Z 4:44 Roc Nation

So far in this podcast, Joe Budden is spot-on with some of his observations about Jay. And something in particular that he touched on—which I think got lost in the sauce, as it were, amid all the breathless chatter about Hov making amends for his alleged infidelities with Beyoncé (and 4:44 supposedly being a direct response/companion piece to Lemonade)—was the possibility that this album was also, in part, his apologia to hip-hop for steering it in such a soullessly corporatist direction starting in the late 1990s. Because I had actually forgotten, as a day-one fan since Reasonable Doubt, how much I had grown to despise him (for such dalliances with ur-capitalism) by, say, 1998.

Be clear: in 1996, outside of a small clique of NYC-based hustlers, fans of Orginal Flavor (these people actually exist?), or folks who either remembered him as "that skinny nigga on the boat," or were capable of making the unlikely connection between Jäy-Z and that kid in the Jaz-O video (who would later play hype man for Big Daddy Kane), nobody was checking for the man born Shawn Corey Carter. (And I, for the life of me, couldn't fathom why.)

He had, effectively, been rejected by every major label in North America. And even after starting up his own boutique label (with co-conspirators Dame Dash, Kareem "Biggs" Burke, and the aid of some bloody, brown-paper-bag money); securing high-profile guests (Mary J. Bilge, a then ascendant Foxy Brown, The Notorious B.I.G.); and crafting one of the most effortlessly lyrical, thematically cohesive rap albums ever to depict the day-to-day life of the hustler (with all the bright-eyed detail, nuance, mother wit, sarcasm, and gallows humor one would expect of a fully baked god's-eye rendering of such a life), the most it seemed to elicit was a halfhearted shrug, as it were, and a reluctant "you've-gotta-drag-it-out-of-us" chorus of praise from a listening audience more interested in the vastly inferior sophomore album by Nas, which also dropped that same summer. (If you go back and re-read The Source's original 1996 write-up, you'll be struck by the inexplicable contrast between that publication's coveted four-mic rating—with which it rightfully rewarded Reasonable Doubt—and its review, which reads, at best, like that of a middling three-mic novelty project. In fact, so disgusted was scribe Reginald C. Dennis—by his former Source colleagues' indifference to what he knew was a landmark album by a once-in-a-lifetime artist—that he bounced from the erstwhile "Hip-Hop Bible" to help co-found XXL, whose first cover would feature—you guessed it—Jay-Z.)

But a whole lot can happen in two short years. And, ever the hustler, Jay-Z had by then made several shrewd but crucial market corrections, with regard to how he spun his densely worded multi-tiered yarns—trimming from them some of their pathos-suffused interiority; affecting an even more guarded poker-faced cool; and splitting the proverbial difference between a psalm which contains multitudes and a front-loaded flow whose easy slipperiness now unearthed a disaffected fealty to (and celebration of) the world's finest things, while at the same time masking the genuine emotions, fears, aspirations, morals and mores of its archly cool architect.

And though this new approach often worked (as it did to great effect on the iconic Annie-soundtrack-sampling breakout single from his third, quadruple-platinum, career-arch-altering album), far too often it now resulted in demonic, dead-inside paeans to materialism such as "Money, Cash, Hoes," whose mixture of harsh atonal synth chords with grim, misogynistic lyrics made one feel the need for several long, hot baths (and, in turn, helped spawn a whole counter-movement committed to sticking strictly to the fundamentals of beats and rhymes). And it wasn't merely that Hov was rhyming about imbibing the most expensive champagne and driving the most exotic foreign cars. On the contrary, rap has always, to some degree, engaged materialism, as it represents for most folks an aspiration/reality in their everyday lives. No, the problem was that this was now (mostly) floss with very little substance accompanying it—from a rapper we knew knew better. This was now no longer a man who had to learn to live with regrets, but one who was in too deep and couldn't be bothered to care.

Which, is why, finally, 4:44, to Joe Budden's point, feels like more than a man's heartfelt confessions to his loyal, long-suffering wife. The album feels, additionally, like yet another market correction. But this time it's perhaps an atonement for potentially misleading an entire generation back when he wasn't rhyming like he had (or was) Common Sense. It's a gesture toward penitence for the human emotions he encouraged young inner-city boys—whether directly or indirectly—to annihilate, to render lifeless in dispassionate pursuit of material wealth and worldly possessions. And now he wants you to know he is sorry. And that the Jay-Z of old must be killed so that you (as well as he) can live. Murder is a tough thing to digest—it's a slow process—and JAY-Z, at 47, has got nothing but time.

[officialjayzues]

Jäy-Züe$ Qoutes

I DON'T HAVE TO BRING DOWN OTHER PEOPLE TO BOOST MY CONFIDENCE UP. I ALREADY KNOW WHO TF I AM.

[neeeltje]

Rosalina and Jaymundo #throwback Chris Jäy あ

[supremestvph]

Hit them elbows!!! #Remake #NeckRoll Chris Jäy, SIMON SAMUELS 😂

[amlightningthief]

When your friend doesn't share food w/ Chris Jäy, michael persad, Wellington Boyce, Louis Giordano, Oscar Guerra, Jay Noland

[mugiwaranorod]

That annoying clingy girlfriend #cuddle Chris Jäy

[yurikevelocity123]

When your girl is complaining Chris Jäy あ

[100undergroundempire]

via 100 Underground Empire

[justamemoryofyou]

Difference between White santa Vs Black Santa 💀💀#SUPERTHROWBACK #Jäy

[bsailor13]

White parents vs Black parents 😂 #Jäy