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Jay Z Blasted for All-White Tidal Staff While Seeking Blacks’ Support

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By Terry Shropshire
Special to the NNPA via The Atlanta Daily World

 
Because of lackluster sales of his over-hyped, much-ballyhooed Tidal music service, rapper Jay-Z flew into a curious and rare public tirade about his struggles as a black man. During a recent concert performance, Beyonce’s husband even evoked the names of Freddie Gray and Trayvon Martin to express the grief he feels trying to build a business while trying to rip free from the grip of the white man’s oppression.

However, an image has been circulating online that has led some to wonder if Jay-Z is truly committed to hiring black people. The image features he and Beyonce taking a picture with a large staff that appears to be 100 percent white. Critics charge that Jay-Z’s recent on-stage rant about racism was a ploy to get the backing of the black community for his Tidal streaming service without him taking measurable steps toward true diversity within his company.

Twitter users tore into Jay Z for his appearance of hypocrisy:

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Jay-Z’s supporters claim that with the company being originally based in Sweden, there was simply too small a pool of black people to hire. However, Tidal is a global business, with employees from a multitude of countries likely be involved. So, if he chose to surpass the 103,000 black people in the country of Sweden, there would surely be others willing to move in order to take the job.

Jay Z launched his “new” Tidal streaming service at the end of March along with a cohort of fellow musicians on stage Skylight at Moynihan Station in Manhattan, promising to forever change the course of music history.

Flanked by the likes of wife Beyonce, Madonna, Rihanna, Kanye West, Jack White, Alicia Keys, and Deadmau5, Hov announced that they were all shareholders in the first artist-owned music platform, which aims to give musicians a bigger cut for their music.

However many have questioned whether the app can be a success. According to Bloomberg, Aspiro, the company which was bought by Jay Z, has lost money every quarter since it was founded, losing $5 million in the final quarters of last year.

While being purchased by a conglomerate of celebrities caused an initial boost in popularity, the streaming app has since plummeted through iStore rankings.

That could be because users who initially signed up were treated to a free trial, but cancelled when it expired, meaning they would have to pay the $9.99 or $19.99 required to keep using.

Unlike rival Spotify, which is valued at $8 billion and occupies top spot for music apps in iStore, there is no free to use tier for Tidal, which may be driving users away.

Analysts estimate that as many as three quarters of Spotify’s users are using the free tier.

Also in Jay’s defense might be the fact that, despite the perception being given to the public, the rap mogul is not the majority owner of Tidal. Instead, the company is owned by numerous artists and investors, with Jay-Z serving as the public face of the venture.

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Activism

OP-ED: AB 1349 Puts Corporate Power Over Community

Since Ticketmaster and Live Nation merged in 2010, ticket prices have jumped more than 150 percent. Activities that once fit a family’s budget now take significant disposable income that most working families simply don’t have. The problem is compounded by a system that has tilted access toward the wealthy and white-collar workers. If you have a fancy credit card, you get “presale access,” and if you work in an office instead of a warehouse, you might be able to wait in an online queue to buy a ticket. Access now means privilege.

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Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland
Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland

By Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland

As a pastor, I believe in the power that a sense of community can have on improving people’s lives. Live events are one of the few places where people from different backgrounds and ages can share the same space and experience – where construction workers sit next to lawyers at a concert, and teenagers enjoy a basketball game with their grandparents. Yet, over the past decade, I’ve witnessed these experiences – the concerts, games, and cultural events where we gather – become increasingly unaffordable, and it is a shame.

These moments of connection matter as they form part of the fabric that holds communities together. But that fabric is fraying because of Ticketmaster/Live Nation’s unchecked control over access to live events. Unfortunately, AB 1349 would only further entrench their corporate power over our spaces.

Since Ticketmaster and Live Nation merged in 2010, ticket prices have jumped more than 150 percent. Activities that once fit a family’s budget now take significant disposable income that most working families simply don’t have. The problem is compounded by a system that has tilted access toward the wealthy and white-collar workers. If you have a fancy credit card, you get “presale access,” and if you work in an office instead of a warehouse, you might be able to wait in an online queue to buy a ticket. Access now means privilege.

Power over live events is concentrated in a single corporate entity, and this regime operates without transparency or accountability – much like a dictator. Ticketmaster controls 80 percent of first-sale tickets and nearly a third of resale tickets, but they still want more. More power, more control for Ticketmaster means higher prices and less access for consumers. It’s the agenda they are pushing nationally, with the help of former Trump political operatives, who are quietly trying to undo the antitrust lawsuit launched against Ticketmaster/Live Nation under President Biden’s DOJ.

That’s why I’m deeply concerned about AB 1349 in its current form. Rather than reining in Ticketmaster’s power, the bill risks strengthening it, aligning with Trump. AB 1349 gives Ticketmaster the ability to control a consumer’s ticket forever by granting Ticketmaster’s regime new powers in state law to prevent consumers from reselling or giving away their tickets. It also creates new pathways for Ticketmaster to discriminate and retaliate against consumers who choose to shop around for the best service and fees on resale platforms that aren’t yet controlled by Ticketmaster. These provisions are anti-consumer and anti-democratic.

California has an opportunity to stand with consumers, to demand transparency, and to restore genuine competition in this industry. But that requires legislation developed with input from the community and faith leaders, not proposals backed by the very company causing the harm.

Will our laws reflect fairness, inclusion, and accountability? Or will we let corporate interests tighten their grip on spaces that should belong to everyone? I, for one, support the former and encourage the California Legislature to reject AB 1349 outright or amend it to remove any provisions that expand Ticketmaster’s control. I also urge community members to contact their representatives and advocate for accessible, inclusive live events for all Californians. Let’s work together to ensure these gathering spaces remain open and welcoming to everyone, regardless of income or background.

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Activism

Oakland Post: Week of December 31, 2025 – January 6, 2026

The printed Weekly Edition of the Oakland Post: Week of – December 31, 2025 – January 6, 2026

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Oakland Post: Week of December 24 – 30, 2025

The printed Weekly Edition of the Oakland Post: Week of – December 24 – 30, 2025

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