Entertainment
30 years after ‘Reasonable Doubt,’ Jay‑Z’s career embodies hip‑hop’s biggest contradictions
Share article
Print article
“Reasonable Doubt” was not the first rap album I ever owned. But Jay-Z’s debut was the first hip-hop album I bought with my own money.
30 years after ‘Reasonable Doubt,’ Jay‑Z’s career embodies hip‑hop’s biggest contradictions
Jabari M. Evans, University of South Carolina
“Reasonable Doubt” was not the first rap album I ever owned. But Jay-Z’s debut was the first hip-hop album I bought with my own money. More importantly, it was the first one I studied as a young writer who aspired to become a rapper, a dream that eventually came true.
Jay-Z sounded cool in a way that resembled a jazz musician more than a conventional rap star. He rapped with a quiet calm that also conveyed supreme confidence. His lyrics were layered, skillful and unorthodox.
Yes, the tracks often revolved around drug dealing. But the hustlers who populated “Reasonable Doubt” weren’t degenerates. They were refined and astute thinkers. And unlike other gangsta rappers, there was a moral quandary at the heart of his storytelling. In tracks like “D’Evils,” Jay-Z’s narrator turns crime, aspiration and paranoia into meditations on capitalism and the psychic cost of wealth:
We used to fight for building blocks
Now we fight for blocks with buildings that make a killing
The closest of friends when we first started
But grew apart as the money grew, and soon grew black-hearted
And later:
My soul is possessed by D’Evils in the form of diamonds and Lexuses
The cinematic complexity displayed in its tracks helps explain why “Reasonable Doubt” was inducted into the Grammy Hall of Fame, and why it still matters 30 years later.
But the album also launched the career of a rapper whose own trajectory has come to mirror hip-hop’s own transformation.
In 1996, hip-hop was still fighting for legitimacy. Three decades later, it had been folded into the mainstream. Kendrick Lamar can win a Pulitzer Prize, Nas can have an endowed fellowship at Harvard University, and Jay-Z, who once couldn’t get signed to a label, can create a label of his own and become a billionaire business mogul.
Is it even possible for hip-hop to be seen as countercultural in 2026? And what happens when hip-hop’s most successful outsider becomes central to the very institutions he once seemed to challenge?
From moral panic to corporate behemoth
When “Reasonable Doubt” was released, hip-hop was both ascendant and under siege.
In February 1996, Tupac Shakur came out with “All Eyez on Me,” which became one of the bestselling rap albums of all time; seven months later, he was shot and killed. His friend-turned-rival, The Notorious B.I.G., was shot and killed in a drive-by shooting the following year. The media often cast these high-profile deaths as proof that rap music was inseparable from street violence, and the moral panic around hip-hop’s influence on young listeners only intensified.
How times have changed. Today, hip-hop powers advertising campaigns, luxury branding and streaming platforms. According to Nielsen, rap surpassed rock music as the most popular music genre in the U.S. in 2018. Today, it accounts for roughly 1-in-4 on-demand audio streams.
Jay-Z has played an outsized role in that transformation.
Since 1998, he’s won 25 Grammys for his own music. In that time, he’s also built a business empire. There’s his talent agency, Roc Nation; his streaming platform, TIDAL; his venture capital firm, Marcy Venture Partners; and his luxury alcohol brands, Armand de Brignac and D’Ussé. Through Roc Nation, he’s also a strategic partner with the NFL, advising the football league on its entertainment programming.
Forbes currently pegs his net worth at US$2.8 billion.
Confronted on capitalism
In April 2026, GQ published a long interview with Jay-Z.
This was a big deal: Jay-Z hadn’t interacted with the media like this since 2017, when he was promoting his 13th solo album, “4:44.”
How would one of hip-hop’s elder statesmen reflect on his career and his many successes?
In the interview, Jay-Z didn’t present his riches as a complicated outcome of capitalism’s contradictions. Instead, he talked about his wealth as if it were something his critics had failed to understand. When asked about the belief that there’s something inherently suspect about accumulating so much money, he pushed back:
“It’s almost like a cop-out. You get to demonize this group of folks without fixing the actual system that exists […] Your morality defines who you are. Your morality is not defined by a dollar amount.”
As for the notion that his career trajectory was somehow hypocritical:
“The only thing I heard coming up was the American dream. You could make it, if you pull yourself up by the bootstraps. I heard that my entire life – until we started being successful. Then it was like: You’re selling out because you’re making money.”
He then went on to insist that being handsomely paid is not some sort of betrayal to hip-hop, art or his community.
“I make art first and then I make sure that I’m compensated for my art. … That [capitalist] structure exists; I just see the world for what it is, not for what I want it to be. I’m a realist.”
To me, Jay-Z certainly sounded persuasive. He also sounded defensive. I think that’s because hip-hop has long been haunted by the idea that wealth compromises credibility, even as the tracks have always contained aspirational themes of luxury and entrepreneurship.
Don’t hate the player, hate the game
For my generation, Jay-Z sold aspiration in addition to albums.
I wore Rocawear denim suits in high school with a kind of conviction that now feels almost funny to admit. In college, drinking Belvedere vodka, which appeared in many a Jay-Z track in the early 2000s, felt like a rite of passage.
That’s because Jay made luxury seem urbane, sophisticated and distinctly Black. Even later in life, when I’d smoke Cohiba cigars, drink D’USSÉ or read about art collecting, I felt like I was living inside a script he had helped write.
Looking back, I can see that much of my admiration for him was cloaked in materialism. Now, I think about the work of political scientist Cedric Robinson, who wrote extensively about what he called “racial capitalism.”
He argued that capitalism has always been structured through race. It does not merely tolerate racial hierarchy; it depends on it. That means Black wealth – even spectacular Black wealth – does not automatically equal Black liberation. One Black billionaire can be held up as evidence of progress, while the broader system that continues to produce Black inequality remains intact.
In other words, if Jay-Z’s ascent becomes shorthand for Black progress, then the critique of the system that continues to oppress those at the margins starts to fade. The culture begins to confuse exceptional mobility with collective freedom.
At the same time, I don’t think Jay-Z can be simply understood as a sellout. Communication scholar A.J. Escoffery has written a lot about what he calls “reparative media.” Essentially, he calls for media institutions to do more than offer tokens of representation to marginalized communities. Media companies need to be built or owned by those communities.
Jay-Z’s defenders will sometimes describe him along these lines – as a Robin Hood-like figure who has taken capital from historically white-owned institutions and redirected some of it toward Black communities or Black entrepreneurs. Even if those gestures remain, at heart, capitalist – like his investments in cannabis brands – he’ll often use his positioning and clout to fund minority-owned businesses.
In the GQ interview, the rapper seemed to acknowledge the compromises he felt compelled to make, and he spoke of the limits Black artists face in industries they do not own:
“[There’s] nowhere you’re going to go that Black people control distribution and control media. At some point you’re going to have to partner with somebody.”
In that, Jay-Z highlights what hip-hop continues to grapple with. The genre no longer has to prove it belongs in the mainstream. But it has to figure out what it means to survive without being fully absorbed by it.
Jabari M. Evans, Assistant Professor of Race and Media, School of Journalism and Mass Communications, University of South Carolina
This article is republished from The Conversation under a Creative Commons license. Read the original article.
📰 Enjoying STM Daily News? Join the conversation!
💬 Leave a comment, share your thoughts, and subscribe to our newsletter for the latest stories, updates, and “News You Can Use This Moment!” delivered to your inbox.
Stay connected with STM Daily News!
Entertainment
Lights, Camera, Snackers: How Aspiring Filmmakers Can Enter to Win $25,000
The director’s chair is open and the opportunity to create the next great snack-sized movie could be yours. Aspiring filmmakers and creators have the chance to turn a prewritten script into an original short film for a $25,000 prize.
Lights, Camera, Snackers: How Aspiring Filmmakers Can Enter to Win $25,000
(Feature Impact) The director’s chair is open and the opportunity to create the next great snack-sized movie could be yours.
For the second year, Bumble Bee is bringing back its Tuna “Cans”Film Festival, giving aspiring filmmakers and creators the chance to turn a script written by comedian and actress, Grace Reiter, into an original short film starring its deliciously convenient tuna Snackers.
Watch the video to learn more!
“I love a chance to support those starting out in the film industry – and this time, I’m partnering with Bumble Bee for the Tuna Cans Film Festival to do it,” Reiter said. “Plus, I’m making it easy: I already wrote the script.”
Using Reiter’s scripted lines, creators can make the story entirely their own, bringing their vision to life through original characters, settings, music, editing and creative flair.
The creative brief is simple: The finished film must be 60 seconds or less and Bumble Bee Snackers™ need to get their moment in the spotlight.
Plus, the stakes are bigger than ever: The winning filmmaker will take home a $25,000 grand prize to help make their filmmaking dreams a reality.
Creators can submit their original short film by Oct. 23, 2026, at 11:59 p.m. PT.
The film can be funny, dramatic, unexpected or all three. The lines are already written but the order, arrangement and any additions are open to creative interpretation. Now it’s time to see what you can do with it.
Visit tunacansfilmfest.com, where you can find Reiter’s original script, submission instructions and complete contest details, to get started.
SOURCE:
Bumble Bee
Last Updated on October 9, 2026 by Daily News Staff
From haunted mazes after dark to daytime trick-or-treating with Snoopy, Knott’s offers two ways to celebrate Halloween in 2026.
BUENA PARK, Calif. — Halloween season is underway at Knott’s Berry Farm, where visitors can choose between the nighttime frights of Knott’s Scary Farm and the playful daytime activities of Knott’s Spooky Farm.
For readers planning a Southern California outing this October, the two celebrations offer different ways to get into the Halloween spirit.
Scary Farm brings new nightmares after dark
Knott’s Scary Farm runs on select nights through October 31, 2026, transforming the park with haunted mazes, scare zones, shows, and more than 1,000 creatures, according to Knott’s.
Two new mazes join this year’s lineup. Inked turns a cartoonist’s creations into a nightmare, while Unearthed sends visitors into an excavation where an ancient evil has awakened.
Also new for 2026 is Color Collect, an activity in which guests use an interactive lantern to activate pillars around the park and collect six colors.
Scary Farm requires its own paid event admission. As of October 4, online single-night tickets are advertised from $65, with taxes potentially additional. Knott’s does not recommend the event for children under 13.
Spooky Farm offers daytime Halloween fun
For families seeking a gentler celebration, Knott’s Spooky Farm takes place Thursdays through Sundays, September 24–October 31, plus October 12, according to the park’s events calendar, which lists the additional date as Columbus Day.
Children can trick-or-treat through Ghost Town, enjoy games and spooky stories with Snoopy and the Peanuts characters, and show off their Halloween outfits at Snoopy’s Spooktacular Costume Party.
Other activities include the Creepy Critters of Calico, cookie decorating in the pumpkin patch, and performances by the Bob Baker Marionette Theater. Cookie decorating carries an additional fee.
The daytime celebration gives families a chance to enjoy Halloween decorations, treats, and entertainment together before the nighttime haunt begins.
Planning your visit
Knott’s Berry Farm is located at 8039 Beach Boulevard in Buena Park, California. Before heading out, check the park’s official calendar for your chosen date, operating hours, admission options, and event policies.
Whether your Halloween plans call for a bag of candy or a trip through a haunted maze, Knott’s has a seasonal celebration to match.
Keep the fun going: Visit STM Daily News for more entertainment news, theme park updates, and stories worth sharing.
Official sources
- Knott’s Scary Farm: attractions and tickets
- Knott’s Spooky Farm: activities and entertainment
- Knott’s Berry Farm: seasonal event dates
Information checked October 4, 2026. Event schedules, offerings, and ticket prices may change.
The next round of Street Fighter is heading to the big screen. Paramount Pictures and Legendary Pictures will release the new live-action movie exclusively in theaters on October 16, 2026, bringing Capcom’s video game characters into a story built around rivalries, a dangerous tournament, and a conspiracy lurking behind the competition.
Directed by Kitao Sakurai, the film features Andrew Koji as Ryu, Noah Centineo as Ken Masters, and Callina Liang as Chun-Li, alongside an ensemble that includes Jason Momoa, Curtis “50 Cent” Jackson, and wrestling stars Roman Reigns and Cody Rhodes.
Ryu and Ken Face a Fight Beyond the Arena
Set in 1993, the movie finds Ryu and Ken estranged when Chun-Li draws them back into combat for the next World Warrior Tournament. What initially looks like a chance to test their fighting skills becomes something much more dangerous.
According to the studio’s synopsis, a deadly conspiracy puts the two fighters on a collision course, forcing them to confront both each other and unresolved struggles from their past. That setup gives the film a personal conflict to explore alongside its tournament action.
For viewers who remember gathering around an arcade cabinet, the 1993 setting offers a nostalgic hook. The studio is also promising familiar signature moves, including Hadoukens and roundhouse kicks, as the game’s combat makes the jump to live action.
A Cast Packed With Familiar Fighters
Beyond its central trio, the announced lineup brings together actors, comedians, musicians, wrestlers, and martial artists. Among the character pairings:
- Joe “Roman Reigns” Anoai as Akuma
- David Dastmalchian as M. Bison
- Cody Rhodes as Guile
- Vidyut Jammwal as Dhalsim
- Orville Peck as Vega
- Olivier Richters as Zangief
- Hirooki Goto as E. Honda
- Mel Jarnson as Cammy
- Curtis “50 Cent” Jackson as Balrog
- Jason Momoa as Blanka
The cast also includes Andrew Schulz as Dan Hibiki, Eric André as Don Sauvage, Rayna Vallandingham as Juli, Kyle Mooney as Marvin, and Alexander Volkanovski as Joe.
With so many characters sharing the screen, one question will be how the movie balances the wider roster with Ryu and Ken’s central story. The announced cast gives longtime fans plenty of familiar names to watch for.
Who Is Behind the Movie?
Paramount Pictures and Legendary Pictures present Street Fighter in association with Capcom. The Legendary Pictures production is based on the Capcom video game, with a story by Dalan Musson and Gary Dauberman and a screenplay by T.J. Fixman and Kitao Sakurai.
Producers include Mary Parent, Cale Boyter, Jason Momoa, Takayuki Nakayama, and Stefan Makhoul. The supplied production announcement notes that credits are subject to change.
Release Date and Rating
Street Fighter opens only in theaters October 16, 2026. The film is rated PG-13 for violence/action, bloody images, strong language, sexual references, partial nudity, and brief smoking, according to the supplied studio announcement.
Fans can visit Paramount’s official Street Fighter page for the trailer and film information, and follow #StreetFighterMovie for promotional updates.
Which fighter are you most excited to see in live action? Share your pick in the comments, and visit STM Daily News for more Entertainment coverage and newsletter updates.
Source: Supplied Paramount Pictures/Legendary Pictures production announcement; release date, synopsis, and selected credits checked against Paramount’s official film page. This article is a preview, not a review.
