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    Hip-Hop Legends Battle

    Drake vs. Lil Wayne's showdown suddenly turns into one of Houston's hottest tickets amid stripper pole talk

    Patrick Ryan
    Pat Ryan
    Sep 26, 2014 | 3:22 pm

    When the Drake vs. Lil Wayne tour was announced, I was skeptical of its marketability and doubted that ticket sales would be robust. I felt the combination of Lil Wayne’s general irrelevance over the past three years, Drake touring so heavily and the awkward video game treatment of the promotional materials — Drake vs. Lil Wayne is sponsored by video game maker CapCom and is intended to illicit memories of the fabled Street Fighter series — wouldn’t excite fans enough to buy lawn tickets at $48 each and the cheapest reserved seats at $145 each.

    My gut reaction initially proved correct as Live Nation ultimately had to offer discounts on seats in certain cities during the first leg of the tour. But my skepticism was erased by strong reviews of the show and the ticket sales soon followed.

    Wayne was the wise cracking senior and Drake was the humble yet quick-witted young star seeking to take over the master’s throne.

    Unsure of whether or not my schedule would permit me to attend the show at the Cynthia Woods Mitchell Pavilion this Saturday, I decided to see the duo perform in the San Diego suburb of Chula Vista last weekend.

    Unique Concert Format

    Like many hip hop fans I have seen Drake and Lil Wayne multiple times but not in a setting where they were co-headliners, so I was interested in how the two artists would interact with one another and play to the crowd.

    It should be noted that Drake has learned from his “mentor” Lil Wayne some very useful tactics for pandering to the crowd and getting them to participate and make noise. Whereas Jay-Z’s throne sits too high above the common man and Kanye goes on boring and irrelevant rants, Drake and Wayne are very skilled at making the audience feel as if they are part of the show and that they as performers, just as much as the fans, are there for a good time.

    This genuineness was spoiled by the corporate messaging of the tour that directed concet goers to interact with the performers via a downloadable app (good luck getting a mobile app to work at a concert or sporting event) by voting for who was performing better and who was ultimately “winning the battle.” I understand the value of sponsorship dollars to large tours like this, but while the idea of Drake vs . Lil Wayne is very cool, the execution as a video game wasn’t very well done and ultimately didn’t speak to traditional fans of hip hop.

    Hip-Hop's Changing Face

    Perhaps the San Diego crowd was an anomaly, but I was surprised by how young it was. I make that statement in the context of having been to more than a dozen arena-sized rap concerts. There were a lot of kids smoking a lot substances only legal with a prescription.

    While I was a little shocked that this younger crowd didn’t know the words to Weezy’s earlier mix tape hits, I wasn’t surprised to see them dressed head-to-toe in various “YMCMB” (the nickname of Lil Wayne’s record label "Young Money Cash Money Billionaires”) and “OVO” ("October’s Very Own" — Drake’s record label, a subsidiary of Wayne’s label).

    Wayne jokingly said he wasn’t going to be climbing on a “stripper pole” under any conditions.

    Today, fans can connect with their favorite artists 24-7 via social media and hip-hop stars have a unique power to influence the fashion of their impressionable followers — even when those fans don’t fully understand the meaning behind some of Drake’s most popular slogans and wording for apparel designs: TOPSZN, REGIME, and Dream Crew. Fans buy it up regardless of what it means so long as it is hard to get, overpriced and cool.

    Music today isn’t about listening to music to connect to an artist and their emotions, it is about connecting with their lifestyle. Because of this shift in the fan-artist relationship, it is no surprise that performers do not concern themselves as much about record sales (since so many people acquire music for nothing or next to nothing) as they do making sure their music is helping sell liquor, sneakers, headphones and apparel tied to their brand. In this regard Drake is well on his way to surpassing not just his mentor Lil Wayne but also more long-time rap stars like Rick Ross, P Diddy and Jay-Z with extensive personal brands.

    Rapper Games

    While I not a fan of going to a rap concert where songs get started and stopped halfway through, I understand it is a necessary evil with two prolific artists so they don’t leave any song off the playlist.

    In addition to playing (parts of) all their hits, the duo did a great job of playing their assigned roles. Wayne was the wise cracking senior and Drake was the humble yet quick-witted young star seeking to take over the master’s throne. It was fun seeing them be so playful between themselves and the crowd.

    This interaction was highlighted when Drake the superstar he has become willingly climbed upon a floating stage to better reach the fans. Wayne jokingly said he wasn’t going to be climbing on a “stripper pole” under any conditions.

    The show’s sound was good, the display screens were clear, and the pyrotechnics, outside of the backdrops of video game-like imagery. heightened the atmosphere. While both artists smoked marijuana on stage (maybe this only happens in the more pot friendly states) this was the first time I had seen Wayne without his usual Styrofoam cup. In the hip hop community drinking out of a double stacked Styrofoam cup indicates that there is “lean” (a mixture of soda and prescription cough syrup) inside. This is a substance that Wayne was allegedly addicted to — and one that resulted in multiple hospitalizations for the hip-hop star.

    Bottom line is that both artists were in good spirits and in good health and it was demonstrated by their energetic performance.

    Houston Concert Fever

    The market for tickets for the Houston show has really taken off. If you scored a lawn ticket a couple of months ago when they were being discounted for $32 each, you will have a night of entertainment at a bargain-basement price. If you secured tickets for $350 each in the first 15 rows before the market took off you, too, are in for a great night without doubting whether or not you got a good value — you did.

    However, now that lawn tickets are sold out and are commanding close to $90 each on the secondary market and really premium seats are fetching more than $500 each, the decision to go is a much tougher one. While we will never see these two artists co-headline a tour again (sorry Weezy fans, from this point forward Drake is the king and will not give that crown back to Wayne and Lil Wayne has accomplished too much to be an opening act) they will tour individually.

    So if you are major hip-hop fan you should see this show if you can afford the ticket prices (but most real hip-hop fans secured their tickets before the market took off). If you are more of a casual fan, save your ticket budget for a future performance.

    As co-owner of The Ticket Experience, Patrick Ryan sees a lot of top concerts and sporting events.

    Lil Wayne and Drake in concert.

    1 Drake and Lil Wayne concert September 2014
    Photo by Patrick Ryan
    Lil Wayne and Drake in concert.
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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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