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>That was the South feeling left out of rap and music, >plus most of the South is still in Jim Crow, so they were >mostly happy at a black man getting over, which I fully >support
the South had long been in rap music before No Limit. No Limit was a populist revolt, I'll give you that. but Geto Boys, UGK, Kast, Ball & G (on the low, P.A. and 'em) take a diarrhea-fied shit on most of the core members catalog (their best rappers were the bench: Mia, Mac, etc).
Master P was to 2Pac what the Kia Amanti is to a Mercedes S-Class
C-Murder was a poor man's stereotypical "West Coast gangsta rapper"
and Silkk never met a beat he could catch.
BASURA.
Cash Money was a much better version of what No Limit was doing (minus Birdman).
that "did it on the cheap" crew bullshit spawned the Ruff Ryderz, which lived and died on how high DMX's buzz was... still allowed too many weak-ass beats to be cosigned.
>Harlem has a long legacy of black genius from Langston Hughes >to Big L. A$AP does nothing for black people from Harlem, >which >is why most of his appeal is from white people > >>Dipset was a thing. > >a) All of the visible members were better rappers, much >better, >than A$AP > >b) White kids actually made Dipset the cult phenomenon that >they became. Rap Genius founder dude says Dipset era Cam'ron >was one of his inspirations, for example
Really? Even Juelz Santana (of whom I'm a bit of a fan)? back in '03... once you got past Cam it was a SHARP decline. JR Writer might have been the best rapper behind Cam, Juelz got better over time, but there is no way you're gonna tell me Jim Jones was a better rapper than Rocky, LOL. Jim Jones was probably the most visible member of Dipset besides Cam and Juelz, and his rap skills were suspect...
(aside from "Dutty Clap", that is. his ad-lib skills were GDLK)
regarding the "Harlem" component, when I first learned of Ocho Seis I thought it was wack that he decided to rap like a dude NOT from NYC, but when I consider how old he is, and what rap he likely was exposed to in the key years... it makes sense. It's not totally a bad idea for artists to honestly follow their muse in that way. When it's part of some trend-hopping bullshit, then it's a problem.
But then again, there's Joey Bada$$. Whose whole career is kind of a "fuck you" to 2000s A&Rs.
>>NORE was a "thing", perhaps even more so than his time with >>Capone. > >NORE was a "thing" mostly because of the Nas co-sign, and >pretty >much fell off right after that first album
Possibly, but Black folks loved the hell out of "Superthug". (I personally hated the shit out of it, and songs like it caused me to point at the Neptunes as a catalyst in the fuckin' up of rap music... a stance I've somewhat backpedaled since)
Yes, I'm mad. Let's move on.
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