Like I don't know who you are. Like I ain't read your interviews.

moving on.

>>Uh huh. Look all respect due, but mad heads on here can
>>pull an industry card, a ny card, a LA card, an ATX card, a
>>Miami Card, a Houston card, a gangsta card, what have you.
>
>You call it a "card" I call it clarification.

The only purpose of name dropping, be it BX or PE, is you want more credibility.

Well you got it.

>>>I don't believe in labels. Neither did many of HipHop's
>>>founding fathers. That's why some of the illest samples
>>>(especially drums) came from Rock records.
>>
>>What does this have to do with the topic?
>
>It has everything to do with it. Namely "labeling" the jam
>saying it "isn't HipHop" when "anything" can be HipHop.

Not anything can be hip hop.

Why?

Because "we", the core audience - urban black and brown kids, define what hip hop is.


>Actually, the MC really wasn't that important at those
>"first jams"...the DJ was. And yes, most of the MC's of the
>era (The Furious Five, Fantastic Five Romantics, Cold Crush
>Brothers) all had routines with singing in it.

Tell me something new. If Method Man does a song with Mary J. on the Hook, it's still hip hop.

>>The boy is singing. Is it hip hop?
>>I didn't ask about the converse case.
>>
>
>Yes it is.

Your reasoning behind this is?

>I guess what I'm saying is that you have to define "HipHop"
>and I'm betting that you can't.

Easy

- content
- context
- intent
- audience sanction

You've got those 4 things, you've got hip hop. That's how it works, and that's how it separates the linkin park's from the stetsasonic's, the roots from rage against the machine.

>I'm not "hatin' you for it" but I know that you can't.

Try harder.

>>
>>You playing the race card now?
>>You playing the teenage hearthrob card now?
>>
>Nope. I'm Puerto Rican so I can give two shits about the
>Black/White thing. I'm talking about a commercial entity
>labeled "HipHop" vs. the culture of "HipHop."

*groan*

C'mon potna, the culture of hip hop, if there is such a thing, never spread past NYC. What went all over the country, all over the world, was capitalism driven rap music. (and to a lesser extent b-boying, dj'ing, and graffiti - but since those are hard to make lots of dollars off of, you see why they are not as popular/truer to their original roots)

Rakim wasn't popular strictly because of merit. (although skills had a great deal) He was popular because radio jocks around the country didn't have a whole lot of hip hop to choose from. All the new school pioneers benefitted from tightly controlled marketing and promotion, despite the informality and lack of sophistication. The old school pioneers had even greater power in that respect, but black radio wasn't so quick to put them in rotation.

>Like I said earlier...almost all of the crews started
>harmonizing because most of the MC's grew up on that type of
>music (ie. the Stylistics, the Delphonics, the
>Dramatics...etc.)

evidence mayn.