example: when puff daddy was endlessly getting praised in White publications like Rolling Stone during his "tour de crap" of '97.
one of the "genius" ideas they attributed to his short list of talents was teaming mariah carey/big baby jesus on "fantasy" in 1995.

...like that song with SWV/wu-tang clan wasn't out a full year before and wasn't the first track on a major studio soundtrack that scanned over 2 million units.

geez.

for the world's first "entirely sampled" album.

O_O

...holy fuck.

"irrelevancy" '96

>"irrelevancy" '96

But, he got love on the underground and alternative circuits. By that logic, almost ALL of the rosters from labels like Stones Throw, Rhymesayers and Def Jux (RIP) would not be considered as "recognized" hip hop acts, but, that begs the question: Recognized by whom?

Is there are particular sect that needs to give these groups recognition before they're considered "hip-hop"?

The hood? There's ALWAYS that one brother in the crew that listens to that kind of stuff, but, after getting clowned the first time he tried to put his crew on, he just keeps it to himself now.

The club? Since most dj's tend not to be too adventurous and mainly stick to the popular radio hits of the moment, then, in turn, it must be the radio that dictates relevancy?

See the rabbit hole you can go down when you make such a wide arching comment?

Come to grips with the fact that most OKP's are of the Nut Hugger lineage, so, if you' re not part of the little cliques that exist 'round here, your posts will probably tank like Souljaboy's album sales.

you didn't/don't get out much do you

>you didn't/don't get out much do you

Or the block...

Come to grips with the fact that most OKP's are of the Nut Hugger lineage, so, if you' re not part of the little cliques that exist 'round here, your posts will probably tank like Souljaboy's album sales.

but most notably them being labeled (especially in the early days) as the first and only "hip-hop band".

pumpkin must've been turning in his grave.

for anyone who needs a refresher:

https://en.wikipedia.org/wiki/Paul%27s_Boutique#Critical_reception

the MBDTF of it's day?

meanwhile, you couldn't pay an actual hip-hop fan who was a fan in 1989 to name you one song off that stinker.

The lead single, IIRC, was Shadrach and I was pissed. The whole Rick Rubin sound was gone and I missed it. PB was released and nobody I knew was fucking with it. The only glimmer of hope for it was the next single Hey Ladies which, oddly, kinda took off in Detroit but we still wasn't fucking with it. I didn't fuck with PB until freshman year of college when a cat from Dayton was blasting Hello Brooklyn in the dorms.

Since then, I've found some shit on that album I fucks with but I'll never pile on the accolades it gets in the press.

>meanwhile, you couldn't pay an actual hip-hop fan who was a
>fan in 1989 to name you one song off that stinker.

anyway, most r&b fans didn't like "here, my dear" at the time.
so i don't think the fact that an album wasnt popular at the time
means that any praise given after the fact is bogus.

the album is pretty incredible.
it's actually one of my favorite albums. (although, to your point, i hated
hip hop in 1989).

Peace,

Spirit (Alan)
http://wutangbook.com

they can't sing,
it's not music,

etc.


my favorite artists were MJ, prince, janet jackson, whitney houston,
and everything from motown.

i just wasn't ready.


the funny thing is my mom tried to put me on to
music that was actually current for years.

she bought me rap singles and tried to get me to like them.
i didn't.

she even tried to get me to like contemporary r&b.
No dice. "Keith sweat can't sing," i protested.

but she said, yeah... but it sounds good.





anyway, there were a few songs that eventually put a kink in my bias...
but i didn't really appreciate rap until i got to college
and the neptunes and timbiland were hitting big.

the first rap album i accepted as brilliant was "the blueprint,"
mostly because he did such a good job rapping over the soul samples.


then i went back and listened to classics i'd missed.
it's still not my favorite genre, but i love quite a bit of rap music.
my favorite rap album is probably "ammerikkka's most wanted."

i can understand why ppl would have been thrown by Paul's Boutique at the time,
but i like it just as much as licensed to Ill.

>for anyone who needs a refresher:
>
>https://en.wikipedia.org/wiki/Paul%27s_Boutique#Critical_reception
>
>the MBDTF of it's day?
>
>meanwhile, you couldn't pay an actual hip-hop fan who was a
>fan in 1989 to name you one song off that stinker.

If you say so - I bought it back in 89 and loved it, still do. Took a bit of getting used to because of the sudden style change though. Close musical style to Three Feet High, which I also loved.

kinda like getting into the Beatles.

note: this may only apply to PWIs.

fuck you.

but when you consider the whole song was a publicity stunt to garner White media attention in his waning career it makes "sense".

cool "brand", bro.

more connected, more attractive version of lumidee would've been sufficiently insulting.

but as far as white media, the whole Kast thing they ran with was pretty damn bad
claiming they're the first true group in hip hop because they didn't sample (which is both untrue and stupid as fuck)

__________________________________________
CHOP-THESE-BITCHES!!!!
------------------------------------
Garhart Ivanhoe Poppwell
Un-OK'd moderator for The Lesson and Make The Music (yes, I do's work up in here, and in your asscrease if you run foul of this

>they
>didn't sample

I knew 'Ain't No Thang' was Miles pretty early on and they even had sample listings in their liner notes.



``they asked me what the meek would get. picture me: afraid to answer.``

http://austinato.bandcamp.com

http://www.discogs.com/lists/Favorites-of-2014/193910

niggas don't know about shit beyond the fact that they like it, quite a few of their hits are samples but most people tend to think "South artist=no samples"
which is amazing to me considering that The Geto Boys used breaks and shit on their best work

__________________________________________
CHOP-THESE-BITCHES!!!!
------------------------------------
Garhart Ivanhoe Poppwell
Un-OK'd moderator for The Lesson and Make The Music (yes, I do's work up in here, and in your asscrease if you run foul of this

Peace,

Spirit (Alan)
http://wutangbook.com

but it was some rag I don't normally pick up

__________________________________________
CHOP-THESE-BITCHES!!!!
------------------------------------
Garhart Ivanhoe Poppwell
Un-OK'd moderator for The Lesson and Make The Music (yes, I do's work up in here, and in your asscrease if you run foul of this

MC Hammer as "the man who turned rap into an artform".

http://books.google.com/books?id=idYFcmXcRm4C&lpg=PT242&ots=pBA9GcW9Xl&dq=neil%20patrick%20harris%20art%20rap%20hammer&pg=PT242#v=onepage&q=neil%20patrick%20harris%20art%20rap%20hammer&f=false

**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

http://www.tumblr.com/blog/blackpeopleonlocalnews

Peace,

Spirit (Alan)
http://wutangbook.com

3 6 Mafia winning
The love white people have for DMX party up track.

<----

Soundcloud.com/aquil84

(HIP HOP)
http://aquil.bandcamp.com

TO THIS DAY... Party up still works in 26+ White crowd.. lol

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

i'm not sure they're right about it having been Puff's idea to link those 2 acts (i suspect that was Mariah's idea) but that collaboration was genius. and SWV working w/the Wu wasn't the same b/c SWV weren't a Pop act like Mariah. and we have to remember that Mariah was a POP act at the time before Rap had become Pop (sorry, Q-Tip). she was Pop and pretty white while ODB was still breaking through at mainstream Rap and hadn't crossed over to Pop at all, really. plus he was throughly black. so it was mind-blowing to have those 2 acts on the same track. SWV were so heavily R&B and Black that it wasn't shocking to see them work w/Wu-Tang. just like it wasn't shocking when Mary J worked w/*insert list of rappers found on MJB's 1st 2 albums and related singles here* b/c MJB was already R&B and very Black.

fuck you.

The distance between SWV and Mariah isn't *that* great.

You act like it was ODB doing a song with Hansen.

Peace,

Spirit (Alan)
http://wutangbook.com

Mariah was closer to Celine Dion than SWV when 'Fantasy' dropped. the gap between Mariah and SWV has closed since then largely b/c Mariah worked w/so many rappers since then. but 'Fantasy' was the beginning of it all. that was the first time a Pop act like Mariah had worked w/a 'Hardcore' or 'Underground' Rap act like ODB.

fuck you.

dangerous to our legacies and importance as black artists.
And especially dangerous when black folks cosign it.

What you're basically saying here is that she can take her ideas from lesser
known black artists, but it's "more genius" because she was more "popular
and whiter". For black folk to ride with that, that's playing the most important
part in writing ourselves out of the history books, especially when we consider
that being "whiter" contributes crossover appeal and hence fame.

It definitely wasn't more genius... just seen by more people.







>i'm not sure they're right about it having been Puff's idea
>to link those 2 acts (i suspect that was Mariah's idea) but
>that collaboration was genius. and SWV working w/the Wu
>wasn't the same b/c SWV weren't a Pop act like Mariah. and we
>have to remember that Mariah was a POP act at the time before
>Rap had become Pop (sorry, Q-Tip). she was Pop and pretty
>white while ODB was still breaking through at mainstream Rap
>and hadn't crossed over to Pop at all, really. plus he was
>throughly black. so it was mind-blowing to have those 2 acts
>on the same track. SWV were so heavily R&B and Black that it
>wasn't shocking to see them work w/Wu-Tang. just like it
>wasn't shocking when Mary J worked w/*insert list of rappers
>found on MJB's 1st 2 albums and related singles here* b/c MJB
>was already R&B and very Black.

~
~
~
~
~
Days like this I miss Sha Mecca

>What you're basically saying here is that she can take her
>ideas from lesser
>known black artists, but it's "more genius" because she was
>more "popular
>and whiter".

i didn't say any of that or anything even remotely like it. LOL

fuck you.

"SWV working w/the Wu wasn't the same b/c SWV weren't a Pop act like Mariah.
and we have to remember that Mariah was a POP act at the time before Rap
had become Pop (sorry, Q-Tip). she was Pop and pretty white while ODB was
still breaking through at mainstream Rap and hadn't crossed over to Pop at all,
really. plus he was throughly black. so it was mind-blowing to have those 2 acts
on the same track. SWV were so heavily R&B and Black that it wasn't shocking
to see them work w/Wu-Tang. just like it wasn't shocking when Mary J worked
w/*insert list of rappers found on MJB's 1st 2 albums and related singles here*
b/c MJB was already R&B and very Black."

^^^^^That's all you. Are you not saying it was cool because the poppier, whiter
artist worked with the black artist, whereas it was just "expected" when it was two
black artists doing exactly the same thing?

This is how we become the principal agents in making ourselves less important
and even obsolete.

~
~
~
~
~
Days like this I miss Sha Mecca

expecting SW to say "k" anytime now lol

_________
steamrollin'

It is to be taken at face value. There is nothing to read into it. If it doesn't appear in the text then I didn't say it or mean to say it.

fuck you.

Yea Puff had already crated the paradigm with MJB/Jodeci and Rap remixes..

SWV was simply following in that line...

But at the time Mariah was the heir to the throne and he didn't take Wu-Tang.. he took CRAZY ASS ODB and placed him on a record with a white washed Christmas jingle singing Pop Diva...

It's only genius because it worked though.. lol

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

fuck you.

that was just the ultimate CB4 bullshit that we tolerated because we desperately needed someone "New York" to be the face of rap in an age when "The South" (i.e. Outkast, Lil Jon, to a lesser extent T.I. and 'em) were the most popular acts in rap.

it was purely ridiculous. even more than the "Jay Z sold drugs, so he's cool" story

funny enough.. I literally mixed these 2 together in the set... ODB on Anything remix goes perfectly into.. ODB on the Mariah song.. lol

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

I use to love H.E.R.


the world doesnt even know how much unintended destruction was grown from the marketing of that rift between him and cube

follow me @oldirtyplaster on the Twitter thing.....i say awesome stuff

R.I.P. Loud But Wrong Guy
Dec 29th 2009 - Dec 17th 2017

thats how they ran with it. All you heard was oh, hate for the west coast, and plus he was aligned with the east at that time because of his sound and no one else from chicago at the time. The whole "La, La' thing came soon after.

follow me @oldirtyplaster on the Twitter thing.....i say awesome stuff