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Just a few days ago, a judge ruled in Hov’s favor after he sued Damon Dash for attempting to sell the copyright to the album as a non-fungible token. Carter Enterprises–sponsored propaganda masquerading as nostalgia. There’s also the RD20 documentary he commissioned at Tidal in 2016, a nifty bit of S. In ’06 he went so far as holding an anniversary show for the LP even in recent years he’s been known to make a point of performing early material. They couldn’t come to a deal, so Jay went on, scorned, but also (conveniently) richer. “It meant everything to me because it was my baby,” was how Jigga described his rationale to XXL months later. As the epic goes, he offered to turn down the Def Jam position and tack on the rights to all his other previous releases in exchange for his Reasonable Doubt masters. In ’04, after a fruitful but increasingly tense partnership with his two other Roc-A-Fella Records cofounders, Damon Dash and Kareem “Biggs” Burke, Hov sought an even higher perch as CEO and president of Def Jam Recordings. The love affair continued into the mid-2000s. Of course, that’s not what would happen, but that kind of intent with a project must, at some level, breed an indomitable attachment to it-one that only making something that may or may not be your only creation can. “It was my intention to make it my last,” Jay later wrote in his autobiography Decoded, meaning the album was designed to be his one and only opus, upon which the then-26-year-old would transition to the throne of label management and tastemaker. The answer was that he didn’t have any, at least not on the mic. It started around the album’s release, when reporters or talk show hosts or DJs would ask him what his plans were for the next project. The man’s still in love with his debut and can’t bear to quit flirting. 1 of hustling (the new testament, not the original commandments) is don’t tip your hand, but Jay-Z seems unable to help himself when it comes to Reasonable Doubt. Today, we’re looking at one of the most heralded debuts in hip-hop history, Reasonable Doubt.
#JAY Z REASONABLE DOUBT SERIES#
The 1996 Rap Yearbook, a recurring series from The Ringer, will explore the landmark releases and moments from a quarter-century ago that redefined how we think of the genre.
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(NOTE: This story has been updated with comment from Mannion’s attorney.No year in hip-hop history sticks out quite like 1996: It marked the height of the East Coast–West Coast feud, the debut of several artists who would rule the next few decades, and the last moment before battle lines between “mainstream” and “underground” were fully drawn. 2:21-cv-04848.įor Jay-Z: Alex Spiro of Quinn Emanuel Urquhart & Sullivanįor Mannion: Sarah Hsia of Rockstone Legal District Court for the Central District of California, No. "It is ironic that a photographer would treat the image of a formerly-unknown Black teenager, now wildly successful, as a piece of property to be squeezed for every dollar it can produce," the complaint said. But according to the complaint, Jay-Z never gave Mannion permission to resell the images or use his name, likeness, identity, or persona in any capacity. Mannion has taken hundreds of photos of Jay-Z and allegedly sold prints of them for thousands of dollars per copy. Mannion's website says he is "one of the country's most acclaimed portrait photographers and a singular sensation within the world of hip-hop," having created more than 300 album covers for artists including Aaliyah and DJ Khaled. Jay-Z's attorney Alex Spiro of Quinn Emanuel Urquhart & Sullivan declined to comment. Mannion's right to sell fine art prints of his copyrighted works." Mannion's attorney Sarah Hsia of Rockstone Legal said in an email that she is "confident that the First Amendment protects Mr.