Jay-Z's new album leaked

[PLANT]

on my second spin now, pretty dope album, im feelin it!

[Blood$]

first album I'm copping since American Gangster... this shit was dope all the way through and Jay was actually dropping game on this one not just entertaining and doing money raps 

[Chamillitary Click]

Somewhereinamerica is just BANANAS.

[Black Excellence]

http://youtube.com/watch?v=T7HGDbR5cfM

[Chamillitary Click]

http://youtube.com/watch?v=T7HGDbR5cfM

Lol @ him hating on Picasso. Any fan of Hip Hop can fuck with that song.

[Black Excellence]

http://youtube.com/watch?v=T7HGDbR5cfM

Lol @ him hating on Picasso. Any fan of Hip Hop can fuck with that song.

that shit light. LOL

[Ma Sai Ya]

HOV! Still killin' niggas at 43, just sayin'..

[Blood$]

1.Holy Grail feat. Justin Timberlake (Timbaland)
2.Picasso Baby (Timbaland)
4.FuckWithMeYouKnowIGotIt feat. Rick Ross (Boi-1da)
5.Oceans feat. Frank Ocean (Pharrell Williams)
6.F.U.T.W. (Timbaland)
7.SomeWhereInAmerica
9.Heaven (Timbaland)
13.BBC feat. Pharrell, Nas, Justin Timberlake, Beyoncé, Swizz Beatz & Timbaland (Pharrell Williams)

my favorite joints off top... crazy album for real, looking forward to it thumping the whip much more once I get the actual CD 

[Chamillitary Click]

SomeWhereInAmerica is joint of the season.

[me1]

Production is solid. I'd probably actually prefer an instrumental version, to be honest. Either way, though, I do appreciate the continuity of having one producer do 85% of the album.

[Black Excellence]

SomeWhereInAmerica is joint of the season.

I mean if this is your cup of tea it's cool but this ain't that slum livin' joint though.

[Elano The One And Only]

Jay-Z 'Magna Carta Holy Grail' app cloned by hackers

The official app is being used by the rapper as a way to promote his latest album - Magna Carta Holy Grail.

Cloned versions of the app available via unofficial sites contain code that unlocked anti-Obama messages on 4 July.

The attack is believed to be part of protests against US government surveillance programs revealed this month.

Security firm McAfee discovered the app on third-party Android app sites. In a blogpost, McAfee researcher Irfan Asrar said the program initially appeared to do everything that the official app did.

However, he wrote, code added to the cloned version copied and sent information to a command-and-control server every time the phone was re-started. Once it made contact, the app tried to download extra code that included the anti-government images and messages.

A timer in this extra code waited for 4 July and then changed the app's wallpaper from pictures of album artwork and Jay-Z to that of President Obama wearing headphones. Above his image were the words "Yes we scan"- believed to be a reference to the NSA's extensive Prism scanning system. It is also plays on the slogan that President Obama campaigned under "Yes, we can."

"The image and the service name NSAListener suggest a hacktivist agenda," wrote Mr Asrar, "but we haven't ruled out the possibility that additional malware may target financial transactions or other data."

To avoid falling victim to this and other mobile threats, users should avoid downloading apps from unofficial sources and ensure security software is kept up to date, he added.

[Elano The One And Only]

Jay-Z's twelfth studio album is his most vacuous yet; "a mess, and not even an entertaining one".

Jay-Z’s released a fair amount of average material in his time. For every Reasonable Doubt in his catalogue there’s a Kingdom Come, and generally speaking this is something that Jay-Z fans are fine with. He releases too regularly to smack it out the park every time, but he’s so easy to listen to and so natural at making hits that even the weaker records are enjoyable, even if it’s just on the basis of a couple of bangers. Roc la Familia? Sure, it’s an average, distracted album, but any world without ‘I Just Wanna Love U’ in it is a far poorer place. Blueprint 3? Not even close to his best LPs, yet it spawned ‘Run this Town’, ‘On to the Next One’ and ‘Empire State of Mind’. Jay’s always been somebody you can rally behind. He gets a free pass where others wouldn’t. But with Magna Carta… Holy Grail, he’s released one of the most vacuous big name records I’ve heard in a long time.

Comparing Magna Carta to Kanye West’s Yeezus, released less than a month before it, is so obvious that it seems crude, but when they use several of the same traits to vastly different effect it’s impossible not to. Both were trailed by notable pre-release campaigns, Yeezus for its live videos, surprise projections and outspoken interviews, Magna Carta for a money-spinning tie-in with Samsung. Both feature some of the year’s most memorable rap lines, but where Kanye’s might be questionable (stand up, “Put my fist in her like the civil rights sign”), they’re at least delivered with impact and divide opinion. Is there anyone who thinks Magna Carta’s “Twerk like Miley Cyrus” or “I don’t pop molly, I rock Tom Ford … Tom Ford / Tom Ford / Tom Ford” lines are anything more than cheap meme bait? Even better, on ‘Oceans’ Jay forces in a cack-handed reference to Billie Holiday’s ‘Strange Fruit’ (already infamously used on Yeezus‘s ‘Blood on the Leaves’) without backing it up or even making it a prominent part of the song. It becomes just another half-thought cultural reference on an album that, with its constant references to Picasso and Basquiat and takes on ‘Losing my Religion’ and ‘Smells like Teen Spirit’, was already drowning in them.

Where Yeezus pulls material from its guest stars that you wouldn’t expect – see Chief Keef’s chorus on ‘Hold my Liquor’ that could prompt an essay on Kanye’s relationship to Keef, Chicago and the public eye, or Assassin’s show-stealing turn on ‘I’m In It’ – Rick Ross’s verse on ‘Fuckwitmeigotit’ is a depressing microcosm of Magna Carta. It’s sluggish and limp over a weedy beat, and whether “Reeboks on, I just do it” is a senseless shot at Ross’s former sponsors (who rightly dropped him over a date rape reference on Rocko’s ‘U.O.E.N.O.’; if it is a shot, then his apology rings even more hollow) or just a bored man confusing his slogans, it’s lame as hell. The song closes on one of the most empty couplets on an album full of them, Ross’s “got a bad bitch she a masterpiece / got a bad bitch she a master-piece”. You’d like to think it’s at least a nod to Jay’s Mona Lisa / Beyonce comparison on ‘Picasso Baby’, but I doubt that much thought went into it. Jay half-laughs, half-squeals in reaction, and even the shittiest Samsung phone speakers couldn’t hide the conceit.

‘Crown’ could even be a Yeezus parody, with distorted 808 kick drums, an autotuned breakdown and ominous, repeated samples, but where tracks like ‘New Slaves’ and ‘On Sight’ used those effects to jar their audience, ‘Crown’ simply melts down into beige slurry. Kanye and Jay-Z were already on different pages on the patchy Watch the Throne, but how the hell are they supposed to make a sequel when “After that government cheese / We eating steak” is about as political as Magna Carta gets?

In terms of positives, it’s hard to look beyond Beyonce’s excellent guest spot on ‘Part II (On the Run)’. It certainly wipes the floor with Frank Ocean’s awkward appearance on ‘Oceans’ (he sounds like he barely wants to be there, and “I hope my black skin don’t dirt this white tuxedo / Before the Basquiat show” sounds suspiciously like it was penned by Jay) and ‘BBC’, which throws Nas on top of a beat that could barely suit him less. ‘Nickels and Dimes’, the album’s closing track, is the only one where Jay’s comparisons to dead heroes stand out (“Johnny Cash, I’m a real G / Cut myself today to see if I still bleed”) rather than blend in.

By then, it’s too late. Magna Carta’s a mess, and not even an entertaining one – it’s simply a dull record by someone who’s in deep danger of going down as a dull human being. But then again, I guess most sports agents are.

http://www.factmag.com/2013/07/09/jay-z-magna-carta-holy-grail/

[Russell Bell]

Jay-Z's twelfth studio album is his most vacuous yet; "a mess, and not even an entertaining one".

Jay-Z’s released a fair amount of average material in his time. For every Reasonable Doubt in his catalogue there’s a Kingdom Come, and generally speaking this is something that Jay-Z fans are fine with. He releases too regularly to smack it out the park every time, but he’s so easy to listen to and so natural at making hits that even the weaker records are enjoyable, even if it’s just on the basis of a couple of bangers. Roc la Familia? Sure, it’s an average, distracted album, but any world without ‘I Just Wanna Love U’ in it is a far poorer place. Blueprint 3? Not even close to his best LPs, yet it spawned ‘Run this Town’, ‘On to the Next One’ and ‘Empire State of Mind’. Jay’s always been somebody you can rally behind. He gets a free pass where others wouldn’t. But with Magna Carta… Holy Grail, he’s released one of the most vacuous big name records I’ve heard in a long time.

Comparing Magna Carta to Kanye West’s Yeezus, released less than a month before it, is so obvious that it seems crude, but when they use several of the same traits to vastly different effect it’s impossible not to. Both were trailed by notable pre-release campaigns, Yeezus for its live videos, surprise projections and outspoken interviews, Magna Carta for a money-spinning tie-in with Samsung. Both feature some of the year’s most memorable rap lines, but where Kanye’s might be questionable (stand up, “Put my fist in her like the civil rights sign”), they’re at least delivered with impact and divide opinion. Is there anyone who thinks Magna Carta’s “Twerk like Miley Cyrus” or “I don’t pop molly, I rock Tom Ford … Tom Ford / Tom Ford / Tom Ford” lines are anything more than cheap meme bait? Even better, on ‘Oceans’ Jay forces in a cack-handed reference to Billie Holiday’s ‘Strange Fruit’ (already infamously used on Yeezus‘s ‘Blood on the Leaves’) without backing it up or even making it a prominent part of the song. It becomes just another half-thought cultural reference on an album that, with its constant references to Picasso and Basquiat and takes on ‘Losing my Religion’ and ‘Smells like Teen Spirit’, was already drowning in them.

Where Yeezus pulls material from its guest stars that you wouldn’t expect – see Chief Keef’s chorus on ‘Hold my Liquor’ that could prompt an essay on Kanye’s relationship to Keef, Chicago and the public eye, or Assassin’s show-stealing turn on ‘I’m In It’ – Rick Ross’s verse on ‘Fuckwitmeigotit’ is a depressing microcosm of Magna Carta. It’s sluggish and limp over a weedy beat, and whether “Reeboks on, I just do it” is a senseless shot at Ross’s former sponsors (who rightly dropped him over a date rape reference on Rocko’s ‘U.O.E.N.O.’; if it is a shot, then his apology rings even more hollow) or just a bored man confusing his slogans, it’s lame as hell. The song closes on one of the most empty couplets on an album full of them, Ross’s “got a bad bitch she a masterpiece / got a bad bitch she a master-piece”. You’d like to think it’s at least a nod to Jay’s Mona Lisa / Beyonce comparison on ‘Picasso Baby’, but I doubt that much thought went into it. Jay half-laughs, half-squeals in reaction, and even the shittiest Samsung phone speakers couldn’t hide the conceit.

‘Crown’ could even be a Yeezus parody, with distorted 808 kick drums, an autotuned breakdown and ominous, repeated samples, but where tracks like ‘New Slaves’ and ‘On Sight’ used those effects to jar their audience, ‘Crown’ simply melts down into beige slurry. Kanye and Jay-Z were already on different pages on the patchy Watch the Throne, but how the hell are they supposed to make a sequel when “After that government cheese / We eating steak” is about as political as Magna Carta gets?

In terms of positives, it’s hard to look beyond Beyonce’s excellent guest spot on ‘Part II (On the Run)’. It certainly wipes the floor with Frank Ocean’s awkward appearance on ‘Oceans’ (he sounds like he barely wants to be there, and “I hope my black skin don’t dirt this white tuxedo / Before the Basquiat show” sounds suspiciously like it was penned by Jay) and ‘BBC’, which throws Nas on top of a beat that could barely suit him less. ‘Nickels and Dimes’, the album’s closing track, is the only one where Jay’s comparisons to dead heroes stand out (“Johnny Cash, I’m a real G / Cut myself today to see if I still bleed”) rather than blend in.

By then, it’s too late. Magna Carta’s a mess, and not even an entertaining one – it’s simply a dull record by someone who’s in deep danger of going down as a dull human being. But then again, I guess most sports agents are.

http://www.factmag.com/2013/07/09/jay-z-magna-carta-holy-grail/

thats his problem.  jay z is more bluster and bragging in every sense of the words than substance in his raps.  always has been.  hes marketing, commercials, "looking cool", but as far as actually saying something to back up what his song titles and artwork and serious image project, he cant do it. 

[Jack Trippa 3z company ho]

http://vigilantcitizen.com/latestnews/jay-zs-magna-carta-mobile-app-is-a-data-mining-operation/


When it was announced that Jay-Z’s new album would be released in partnership with Samsung, some fans grumbled about him “selling out”. Well, things are a lot worse than just him “selling out to the corporate world”. The app that was created to enable Samsung users to listen to Jay-Z’s album a few days in advance is a true data-mining operation that collects an insane amount of data from its users. Here’s a screenshot of the permissions needed taken posted by rapper Killer Mike on Twitter.

The app needs to be able to modify or delete the contents of your USB storage, it can identify all of the running apps on your phone and it needs to know your *precise* GPS location. It also gathers “accounts ” the e-mail addresses and social-media user names connected to the phone. While these permissions are often requested by social media apps and so forth, this is an ALBUM LISTENING APP. Why does it need all of this information.

But things get worse. Here’s a review from the NY Times.
“When installed, it demanded a working log in to Facebook or Twitter and permission to post on the account. “We would like fans to share the content through social networking sites,” a Jay-Z spokeswoman said by e-mail. (E-mail to Samsung Mobile’s customer service address for the app was returned as undeliverable throughout Wednesday.) But the app was more coercive.
In the days before the album’s release through Samsung, the app promised to display lyrics — with a catch. “Unlocking” the lyrics required a post on Facebook or Twitter. I used Twitter, where hitting the “Tweet” button brought up a canned message: “I just unlocked a new lyric ‘Crown’ in the JAY Z Magna Carta app. See them first. http://smsng.us/MCHG2 #MagnaCarta.” The message could be altered, but something had to be sent. No post, no lyrics — for every song. Users were forced to post again and again. And frankly, a lyric that is going to show up almost immediately on the Internet isn’t much of a bribe for spamming your friends.”
- Jon Pareles, Jay-Z Is Watching, and He Knows Your Friends

While some see Jay-Z as a savvy and powerful business man, he is once again being used by the elite to push its agenda further. Whether it be pushing their occult symbolism or their Big-Brother Agenda, Jay-Z is apparently down with it.

Rap used to be about exposing oppression and staying true to yourself and your community. However, like many other “movements”, rap is being co-opted by the elite to further the very things the movement used to denounce. Fortunately, there are still rappers who have a powerful message to communicate. For example here’s Killer Mike’s (mentioned above) video “Reagan”.

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Go to the article for the pics/song mentioned, couldn't post from my phone.