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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.

    One of Drake's entourage members makes him a juice from carrots, beets and ginger.

    Drake and Lil Wayne concert September 2014 One of drake's entourage members   assistants makes him a juice from carrots, beets, ginger
    Photo by Patrick Ryan
    One of Drake's entourage members makes him a juice from carrots, beets and ginger.
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    Movie Review

    Twin sisters set out for revenge in Tarantino-esque film 'Is God Is'

    Alex Bentley
    May 15, 2026 | 10:00 am
    Kara Young and Mallori Johnson in Is God Is
    Photo by Patti Perret
    Kara Young and Mallori Johnson in Is God Is.

    The revenge story is one of the most enduring in all of cinema as it can be adapted to multiple different genres. It most naturally fits in the action/thriller genre, but comedies, dramas, Westerns, and more have made good use of characters seeking revenge. The new film Is God Is demonstrates that malleability by detailing an intensely personal story that turns into something bigger.

    Twins Racine (Kara Young) and Anaia (Mallori Johnson) have lived a difficult life, going in and out of foster care and forced to endure stares and taunts because each bears burn scars from a childhood attack. Racine, whose scars are “only” on her left arm, has developed into the protector of Anaia, who suffered burns over much of her face.

    An unexpected call from their mother, Ruby (Vivica A. Fox), who was burned almost beyond recognition in the attack, gives them a purpose: Seeking revenge on the man who ruined their lives. Setting out in a barely working car and with only a small amount of direction, the sisters attempt to fulfill the mission without losing their souls.

    Written and directed by first-time feature filmmaker Aleasha Harris, the film may remind some viewers of Quentin Tarantino’s Kill Bill, and not just because Fox has small roles in both films. Harris has a knack for dialogue, especially between the twins, that ably gets across the story exposition and entertains at the same time. There are many instances where she has the sisters hold silent conversations told on screen via subtitles to convey twin-speak, a method that deepens their connection and draws the viewer in.

    Harris also has her characters engage in the type of shocking violence that Tarantino has used to great effect. The difference here, though, is that even though the story is heightened to a certain degree, the egregious nature of the crime perpetrated upon the girls and their mother makes the whole thing feel bracingly real. This revenge plot is not meant to merely entertain; it’s designed to put the audience in Racine and Anaia’s shoes and fully embrace the call for justice.

    There are a few times when the lack of experience by Harris shows up, especially in the climactic sequence where the stunt work could have used some more precision. But overall, it’s a self-assured filmmaking debut for the playwright-turned-director, who’s adapted her own play with a richness and depth that is not often found from someone stepping behind the camera for the first time.

    Young and Johnson don’t especially look alike, but they embody the essence of twin sisters, and it’s their chemistry together that makes the story as impactful as it is. They’re joined by other strong female performances by Fox, Erika Alexander, and Janelle Monáe, each of whom brings a different vibe. And anyone who loves This is Us or Paradise should prepare themselves for a completely different kind of role for Sterling K. Brown.

    Is God Is uses a variety of inspirations for its storytelling, but in the end it becomes its own thing. The filmmaking world can always stand to have another strong Black voice, and Harris has made an auspicious debut, one that should have cinephiles wondering what she’ll do next.

    ---

    Is God Is opens in theaters on May 15.

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