Magna Carta’s Blue Period…A Sincere Ode & Review
The sonata, that is the Shawn “Jay-Z” Carter catalogue is inner-city polarizing, commercially diligent and globally domineering to the artist through any medium, young or old. The stigma of the Jay-Z diaspora, or should I say those of the community, lies in the complacency and comfort the fans, supporters and purveyors of the multi-faceted being’s career. You certainly have those who NEED Jay-Z for their sake, of understanding what music is now, erasing, their temperamental disgust in the current, 1.2, 1.2, 1..2.345, modified iambic pentameter of today’s rap scene, their 6’2″ multi-millionaire gauge of hope. Jay-Z is the “old head’s” sacred renaissance, a man placed between the measure of inevitability of likeness in each and every community, through social and financial means, as he is now a permanent fixture in the world of currency, domestically and international.
Without the politics; the systemic growth of Jay-Z, all we have is an artist who has devoted more than 15+ years, developing, his lyricism, position and stature in the world of music. Carter’s latest offering the Magna Carta |Holy Grail is like his other productions, a sonically driven novel of the artist’s current understanding of life, status of such in the eyes of others and how much he strives to over challenge his skill, to possess the title or the similarity, of one who may consider himself a master. The term loosely used in the realm of music, unless in reference to those of instrumental gifting.
Magna Carta, may serve as his doctrine, ceramic Michelangelo with a halo of perpetuated, guild, in fact the artist managed to do so, in the realm of his own confinement with the second track of his composition by asserting the title of the apex between modernity and the late artist, Pablo Picasso. Synonymous with masterful artistry, Picasso is a standard of individuality, and skill beyond, the measure of the conventional man. As Jay-Z offers his slick tongued, street-fueled art history lines, you begin to notice the bravado Carter now holds with his right hand hovering over, the legacies of Christopher Wallace “Biggie” Tupac Shakur and those he illustrates as self-ordained contributors towards his existence in hip-hop. There is no doubt, that Picasso served his purpose: to possess beauty through the means of personal interpretation but, we all know such height delivers itself through, ground moving lows.
MCHG is, indestructibly, referable to Picasso’s “Blue Period” between the years of 1901 and 1904, a time frame where young Picasso was subjected to the pangs of modernity, poverty, unrequited love, suicide (death of his, closest friend in Paris, Carlos Casagemas) rendering, his work, the true components of expressionistic being, as his catalogue began to fluidly commence the, use of blue, with grim images of life stricken by regretted hope and reality. While Picasso’s personal tragedy steers emotional durable in comparison with Carter’s guild and successful transparency, offered through the orchestrated curation of Timbaland, the concept of progressive failure, impressionable conceptualism and beauty bind the two with maniacal strength. As Picasso’s work became entirely influenced by the self-inflicted death of his dear friend, Jay-Z acknowledges the change or death of the Carter, he presents on the album in order to creatively change his status, or distort what you already know, similar to the hue of blue Picasso used to strike the canvas, the figures and artistic being.
“On a holiday playing Strange Fruit,/If imma make to a billi, I can’t take the same route” – Oceans (featuring: Frank Ocean)
Change, sentimentally, through emotional distortion or acknowledgment of physical being, socially or personally is an ever-growing process, the mark of leaving something behind. The Picasso’s use of blue, was a transition from humility to a poignant, representation of his depression, something, ignited by the loss of endowment. As Picasso used the hues to illustrate the pangs, Jay-Z’s lyricism does the same, while managing to balance, the loss of those of who, consistently doubt the level in which Carter has gained acclaim, credibility and a diversified fan base, rendering him no longer a figure of expertise, but a social master of several marked facets. Each artist, employs the social connotative state of blue to, exemplify their personal motives. As Picasso polarized the arts with his decisive hue structure during the “Blue Period”, Jay-Z does the same as he presents his career as a martyrdom of immense pretenses in order to move forward. Bleed Blue!
Thank you Vogue!