Lil Wayne Turned Madison Square Garden Into a Time Machine on His ‘Tha Carter VI’ Tour

In 1994, my parents finally went to see the Rolling Stones. The group released Voodoo roomYour twentieth album, In July of that year, and immediately He began to travel it. In August, they arrived at East Rutherford, New Jersey, to play in a football stadium, and my mother and dad decided that it was the right time to review a great show on their desire list. The moment represented a turning point for the group. It was the first album that The Stones had launched in five years and was received with a degree of skepticism. They were firmly in the middle age, three decades in their career, and apparently they had come to the understanding that many artists from the era of the sixties were awakening the artists of the era of the sixties that woke up: their great middle class, the Middlebrow audience had grown together with them, and were financial enough financial enough to pay the exorbitant prices for the shit seat He had eluded for so long, even if he had speculated from the specification of shit.

The stones were in my mind last night at Madison Square Garden de Lil Wayne, because they have spent 28 years since Hot Boys launched his debut album, Give it how you live it! In a rap seal based in New Orleans Independent that was called Cash Money Records, almost the same period of time between the debut of the Rolling Stones in 1964 and the Lounge Tour Voodoo.

The Wayne show last night, and the place itself, was a great reservation to discover and made a lot of sense. Wayne has surrounded New York, a city with a sacred and tortured place in his heart, the entire career. It’s where I found his muses in jay-z and the diplomats in the 2000s, as well as where he served an eight-month prison sentence at the peak of his fame and his artistic power powers, in rikers island over a possession of a loaded weapon charge in 2007. And yet, here he would Glorified Album Release Party in the World’s Most Famous Arena, Ostensibly The First Leg of A North American Carter VI Tour that opens here the first week of June, but will not resume until the end of July.

The album that we all meet to celebrate, two hours after the starting time announced for the show, is simply a damn disaster. Tha Carter VI It is the work of an artist who does not have a creative team around him capable of retreating his worst and more indulgent impulses, or one who is not willing to listen to dissident voices. And instead of that lack of editorial process, its author has clearly lost, if it is not permanently lost, its impeccable grip in its true north. From Carter VI It was released on Friday at midnight, my timeline has been burned with fans, former fans and those who hate what exactly had gone out so bad.

And yet the electrified garden crowd was stuped to the bleeds by the time wayne hit the Stage just after 10, Strutting to the Stage with a White Electric Rockstar Ax, Sporting Blonde Dreads, Pink Sweats Tucked into Heeled Knee High Boots, An Oversized Heavyweight Britney Spears T-Shirt With Her Name In Neon Pink Script, to Chunky Scarf, Bejeweled Grill, White Framed Sunglasses –Which would frozen crucifix chains and a muddled crucifix ring to go with an frozen wallet chain and a slowly burning edge in the late 90s.

There was a minimum show on stage behind him: an abrupt platform behind the rapper with the Roman numbers «I» and «V ‘, Garden Variety Pyrotechnics and Smoke Cannons, a live drummer and a DJ, but the real special effect was music. Again at an execution speed.

The show is special, as it is for any artist with the power of generational permanence of Wayne, or say, the stones, because it can represent whole eras in music, in life, in the artist’s career, a constant change of chameleonic that is a necessity when you have been around for decades. That is why the live experience in this transmission era is so vital for younger fans trying to navigate this mass catalog.

A pop animal like Wayne must be experienced outside. Pay attention to Ironclad, near the list of chronological songs built through generations of test and error response on the way, and observe how tens of thousands of people who were there for each step of the Wayne race reacts to it. To experience the power of these outstanding aspects in the room, with a crowd. It has an endless success list, some who touched the billboard signs lists and some that never did it because the samples cannot be cleaned and are not yet transmitted, but they were omnipresent in the AUGHS, however, from decades of classic and iconic album and mixtape work, which matters when you try to understand the impact of an artist of this magnitude.

It is a reminder that Lil Wayne is one of the most unique and rich rappers in the context of the modern era, thanks to its inventive and influential approach. No rapper at the goat level is less like the artist who was when he began, compared to the artist in which he became, that Wayne.

Like Ll Cool J (who made a brief but memorable cameo on the garden stage), he was a survivor who never stopped evolving. Whose attractiveness for his followers for a long time was to draw his evolution: from adolescence in advance with the good fortune of being close to one of the large groups of hip hop, driven by one of his best rhythm architects, to a young man sololy experimenting with his style about his mixtapes under the cup of his style and, at the same time. The first Aughts of IT are the traditional LPs of the Eastern coast of Jay-Z, to finally combine all those years of experimentation, and metabolize those influences and produce a sound and a style that was completely personal and unique, which, finally subversive and innovative was at that time.

The old Wayne fans like me are a fun race. We wash people who have not accepted that we are washed, with poles surpassed with fucking necklaces, with sunglasses in the dark at night and extremely expensive Fendi cubes that are stupid like hell. But MSG music made us all children again. And that’s why you can omit more or less Tha Carter VI, But I can’t afford Miss Wayne Live’s luxury this summer if you have the opportunity to go see him. His program recreates the joy of his trip, the meaning of wonder, the progression of three decades in style and substance that made Wayne one of the greatest rappers of the modern era.

On the 30th anniversary of The Voodoo Lounge Tour, my parents returned to Meadowlands to see the Rolling Stones again last year, with a couple of tickets that were still very expensive and in demand, this time in a football stadium that takes after an insurance company instead of a football team. The hand on Lounge Voodoo and the Lounge Tour Voodoo was justified and empty, depending on his perspective and what cares as a fan. The album was characterized as a swollen product, 15 tracks and an hour of the insufferable «was CD», a glorified excuse to make a tour that has been largely forgotten, and it could be argued that, in terms of new music, it was the official death of the death of the relevance of the Rolling Stones. It was also the richest tour until that moment, an album that the stones themselves would break several times in the following years, the birth of the band as «contemporary adult» shit transporters, a national nostalgia/mint factory, which thanks to their longevity made them one of the first groups to capitalize on their lawyers of lawyers in the age of the elderly and explore the limited ones of the limited ones of the limited Concerts, to load us, which leads us to the positions of the concerts, which take us to a concert charge. The current era fucking crazy fans willing to borrow significantly to see Taylor or Beyoncé.

Mick and Keith are in their 80 years; They are billionaires and have passed the last three decades launching music occasionally, strictly because of their base of unconditional fans, but largely living with the incredible creative production of their first three decades. I thought about that while Wayne ended up moving her program with «A Milli», one of the strangest top 10 of cattle in Grammy in the history of rap.

I sat next to a middle -aged mother and her teenage son going crashing Wayne and particularly «a mili» in the garden last night, and considered these institutions in pop, the generations of fans who grew up in the music of the stones and the music of Wayne, who presented their children and grandchildren to that incredible initial career and join when these acts return to appreciate one of the great catalogs in the American songs in the American songs in the American songs American songs and celebrate that their love. To run back, and remember the days of glory, when our favorite artists were young, and we too.