because its not showing up on Netflix

LOL. If that were the case it would come out never.

Like a chump, I didn't put any effort into trying to get into any of the premier showings. I'm off all day and was hoping this would be out by now. I thought Flix was supposed to have shit out by 6AM.

got my happy ass up this morning and was mad disappointed to see it wasnt up yet

took the kid to Arlington
ate dinner

glad i made the thread because i forgot

bout to watch now

I was gonna check tonight. They have Organized Noise all day today on the Blkspin XM radio channel for the doc so thought it was out...

And a couple other places

https://www.netflix.com/title/80094521?s=i

.

.

Their manager told me it would be on sale soon.

in his segment he has a grown white man bring him a shot of vodka, LOLzers

also

"you a sexy symbol, boi"

He and Rico were very competitive back in the day. You agree to pay tribute, but still low key stunt on him, once again.

.

Live happy accidents re: drum loop on waterfalls

Growing up in Georgia, even as a young girl, to hear their productions and to know what DF as a collective was doing, this is OURS

I hope Rico stays clean - such a talented and genuine dude. I could kind of see the toll the usage had on him. The end where he was talking about how he nurtured 'Kast and looked out throughout their careers and they ended up distancing themselves from him was heartbreaking.

.

it really was just a crawl space under the house lol

On one hand I understand the emotion there. It seems like he was genuinely hurt by Kast’s decision to do STLB without them. I can understand that sentiment, hey, just let us be a part of it! I get it.

But once he called them “arrogant” for that decision I lost a lot of my empathy for him. It’s hard to read that as anything but “they ain’t shit without us, what makes them think they can do this on their own?”

The whole “we gave you an opportunity” bit reminded me of Ritchie Apriel talking to Beansie in The Sopranos: “I put you in action.” It felt dangerously close to usury and while the mob analogy is a little melodramatic I can’t see any other way to read that ‘arrogant’ statement except “you owe me”.

And yeah, on the other end I feel like a basic sense of loyalty and family should have driven BB and 3K to keep some level of ON presence on everything. A track or two on everything, no matter what…. But they don’t owe anyone that. I don’t care how they got their start. Kast did their work and reached a point as artists where they wanted complete control over the creative process and I don’t see how anyone can fault them for that. Especially since they blew the roof off the joint in terms of success.

If anything Rico should have had some pride in the fact that he helped them develop into such an institution that they wound up dominating pop radio with that album. What greater pride is there for a teacher than to watch his/her student excel at the highest level of their field?

There are obviously some layers to this and maybe his emotion just overwhelmed him in that moment but there was a little too much English on that one.

I feel you but to not get thanked at all during that acceptance speech had to hurt.

.

I think he genuinely loves everyone in the DF camp and he rightly feels that he has earned enough reverence to get a measly shout out in a moment like that.

I thought he was going to break down and cry in that segment.

...that Rico said he just wanted to "be there," not that he wanted a track on the album necessarily, not that he wanted to be a creative peer in the studio...but that he just wanted to be there to offer feedback, and I agree with him 1000000% the Outkast owed Rico and Organized Noize at least that after all they'd done for 'kast, and after all Rico gave up in terms of publishing and money to make sure that "everyone ate"

I don't blame him at all for calling them arrogant, due to the above. I don't think he was asking much. He just wanted to be present.


>I feel you but to not get thanked at all during that
>acceptance speech had to hurt.

If I'm not mistaken SB/TLB was after they walked away from the $17 million

SEVENTEEN MILLION

I mean granted Kast/Mr DJ had already been doing alot as Earthtone III but ONP was also still poppin...until they weren't

Gipp said something similar as far as "we all wrote hooks on that first Kast album" etc, and Big Rube has also said sonething similar in the past. I'll never forget the animosity, especially towards Dre in those VIBE articles "Am I My Brothers Keeper?"

I don't agree with how Rico still holds on to that but I kinda get it. That had to be painful and crazy humbling.

>If anything Rico should have had some pride in the fact that
>he helped them develop into such an institution that they
>wound up dominating pop radio with that album. What greater
>pride is there for a teacher than to watch his/her student
>excel at the highest level of their field?
>

>There are obviously some layers to this and maybe his emotion
>just overwhelmed him in that moment but there was a little too
>much English on that one.
>

I agree with this though, for sure

Wish they would have spent more time speaking on the Soul Food album. That's their greatest achievement IMO.

And it's prolly the blackest hiphop album ever.

it even seemed like Ray and Sleepy was bit uncomfortable in some scenes as he spoke

overall the doc was good. it was crazy how many of the parties involved had VERY SIMILAR memories on how certain songs came about. that's usually not the case

i wish they talked a bit more about ATliens and Soul Food

and to this day I wish i never sold my witch doctor album back to the wherehouse. it's hard as shit to find, even on youtube

You didn't like that Witchdoctor album? I still jam that one.

when an album i wanted came out, ironically i don't even remember what lp it was :/

Fuckin Peppermint Records was TAXIN super hard. Backbone took a pic of his own album in there, maybe a year or more ago, and that shit was almost $200.

http://www.amazon.com/gp/offer-listing/B00005KBBT/ref=tmm_acd_new_olp_sr?ie=UTF8&condition=new&qid=1458794580&sr=8-4

It may still be in Greenbriar and South Dekalb, I don't know. This was before Best Buy became my favorite place to cop music. They didn't do first week sale prices. Adult or kid, you're not getting out of Peppermint for less than $20.

with those prices. I don't think I ever bought from them. my buddy did get a few records tho.

there was one in West End mall too. they are all closed now.

I can count on one hand the times I copped from there. Just wasn't a good way to spend allowance.

I bought Gang Starr's Hard to Earn from that location. First and only time I ever visited them. Ridiculous prices!

http://www.amazon.com/gp/offer-listing/B0000061Q9/ref=tmm_acd_used_olp_sr?ie=UTF8&condition=used&qid=1458794506&sr=8-1

and like jfrost i seen the same prices

thanks for the link though

Always request pics. Some of them dudes be selling poor quality CDs with inaccurate grades. I got got once. Dude had his rated very good. When I got it it looked like he played foosball with it.

Before Dodgeball came out me and my boys had the exact same concept but with foosball. Shit would've been classic!

I never had a bad experience on there. I've trusted the feedback so far.

.

He's only seeing 25% if not less of that song.. so lets do quick math based on this rollingstone article...

according to wiki... Waterfalls has sold 1.2m so lets go to article...

so from RS

"Will.i.am, Co-Writer, 'Boom Boom Pow'

TRACK SALES: 6.3 million

ALBUM SALES: 3.15 million

TOTAL SONGWRITING ROYALTIES: $859,950"

Will probably sees the bulk of that publishing since he produced and wrote.. Even if you cut that in half and say Marqueze earned 430k he could've easily burned through that since he never had another hit.

He couldve got less than 25% too...

http://www.rollingstone.com/music/pictures/how-10-major-songwriters-make-big-money-20120119/the-dream-co-author-rihannas-umbrella-0110533

But yea.. if you gon have 1 hit in your life..... to be cool forevaaahhh

make it a christmas song, a crazy sappy love song.... OR a song that Puffy samples..

http://www.therichest.com/rich-list/the-biggest/12-highest-earning-songs-of-all-time/?view=all

Sting makes 2k a day off that damn song..

until i thought, "shit, he could be running that hotel which would be a NICE, STABLE salary that isn't always provided by his art...

...and that his art still might be getting him enough paper to pay his mortgage or whatever, which isn't bad at all."

I actually wish they would've answered the question.. lol

like he kinda just said it... but there was no follow up... I may know the mechanics of the industry but still..

dude co-wrote one of the biggest songs of the 90s and you wont explain why he not only has the same gig but seemingly never left it..

he was like "same place I work now".

seems he was more of the catalyst

dropping a beat
that was a wtf moment like...so ray was the engine

Yeah that was one of them Tribe, Q-Tip moments because I always that Rico was the main beatsmith in ONP. Turns out Ray was the man. Salute!

#1 Why was there an "ONP" version of Elevators on ATLiens?

#2 WHY TF was Kurupt on that Cool Breeze album?


That whole Interscope period was very weird and fucked up a lot of the progress they made. I'm glad they addressed what was going on then.

There were some things that were missing tho like :

#1: Kujo Goodie - conspicuously missing from the whole doc. I wonder why.

#2: They didn't even mention that Society of Soul album one time. That shit was great. Probably the 2nd or 3rd best album that that crew put out.

I could only mess things up. You got folks physically separated. Pat, Ray, and Rico busy with handling the new label business they would have trouble still managing the crew. If they all stayed under one house it would have worked better in my opinion.

I also wondered where was Khujo. I wish they talked more about Soul Food as well.

But it's kinda impossible for that not to happen. They needed that deal to get paid appropriately for the work they already put in. But naturally signing with a West Coast label is gonna separate the people involved. And them being together, in the Dungeon, at all times, is what made them click...what made them develop that chemistry, which lead to the creation of that great music. Naturally pulling people away from that 24/7 environment is gonna change the landscape and therefore the results won't be the same.

It sucks but it's hard to blame anyone for it...just the natural order of things and it sucks that it had to go that way. You just wish LA Reid or someone in ATL was able to get their deal right so they never had to leave the studio haha.

There are so many nuances to all these stories that they really could've spent a ton more time on. Also, I feel like if someone went in not knowing much about the Dungeon Family outside of Outkast, it may be a hard story for them to follow. Seems like the doc was primarily tailored to those that already had the building blocks of the DF backstory, so the doc served to just fill in some gaps without really fleshing everything out as well as it could have. I was able to follow but I just feel like someone not as well versed about crew may not be able to as easily.

But yea - could've been way longer. I still have so many questions. Maybe they'll follow it up with something else. Who knows.

My main takeaway is that Rico is just a great, humble dude. He seems to genuinely care about his people, and never let money motivate him more than realizing the artistic visions of his/their people. Same goes for Ray and Sleepy, but Rico seems to be the most tragic figure in all of this because he really stuck his neck out to make sure everyone ate and everyone kept their rights and publishing, giving up a ton of money personally in the process....only to find that Outkast wanted nothing to do with him for STLB and didn't even thank him/them onstage when they won their Grammy. I don't at all blame him for being salty about that. I really feel like all sins related to the STLB thing would have been forgiven had Dre and/or Big simply thanked ON when they won the Grammy. I think that's what hurts Rico the most, and rightfully so, which again says a lot about the dude.

Anyway I share the same sentiments as most in here in that I hope that they are able to kind of have a resurgence now. Again they just seem like good dudes that kind of got lost in the business side of things. They are easy to root for.

When he puts it out there like that he has a point. Yall were staying at my momma's house that I paid half the rent on. I literally fed yall and taught you how to make music. You mention the first album during the speech but don't mention Organized Noize. It's kinda foul. Especially when they called L.A. Reid up who of course deserves come credit because he helped them a lot, but Pat, Ray, and Rico believed from day 1.

>When he puts it out there like that he has a point. Yall were
>staying at my momma's house that I paid half the rent on. I
>literally fed yall and taught you how to make music. You
>mention the first album during the speech but don't mention
>Organized Noize. It's kinda foul. Especially when they called
>L.A. Reid up who of course deserves come credit because he
>helped them a lot, but Pat, Ray, and Rico believed from day 1.

Shit is all around sad. That said, what's done is done. If I'm in Outkast I got nothing but praise for Organized Noize. If I got issues they the only ones who would know. Those dudes changed the lives of everyone in the Dungeon. Gotta be forever grateful.

>Shit is all around sad. That said, what's done is done. If
>I'm in Outkast I got nothing but praise for Organized Noize.
>If I got issues they the only ones who would know. Those dudes
>changed the lives of everyone in the Dungeon. Gotta be forever
>grateful.

Yeah, Dungeon family put Outkast on and taught them the game, but "kids" grow up and strike out on their own. Happens all the time in the music biz. Just in hip-hop, De La did three albums with Prince Paul and started produced on their own. The entire Juice Crew moved on from Marley Marl. Rakim stopped messing with Eric B. On the business tip, Jay-Z struck off from Dame. In this case, it had been a long time coming, as ONP was doing less and less production for Outkast on each successive album; Organized only did four tracks on Aquemini and three tracks on Stankonia. Shoot, the whole purpose of Speakerboxxx/Love Below was Boi and 3000 showing what they could do on their own, as individual artists, apart from each other.

They then had five minutes of Rico saying he deserved credit for not taking Outkast's publishing when he could have. It reminded me of Chris Rock's "I take care of my kids!" bit. Yeah, that's what you're supposed to do.

Organized Noise benefited a lot and made a ton of money based on their relationship to Outkast. Their success as the producers of "Southernplayalistic" helped get them the job producing "Waterfalls", and certainly contributed into them getting a $20 million distro deal from Interscope. 'Kast did just fine by them. Rico mostly sounded mad because they didn't use ONP **right** at the time the calls stopped coming in and he was putting enough coke up his nose to sustain Colombia.

It should also be noted that Speakerboxxx/Love Below was the ONLY Outkast/Big Boi-related album where there was no ONP. They did four tracks on Idlewild and a few songs on both of Big Boi's solo albums.

>Yeah, Dungeon family put Outkast on and taught them the game,
>but "kids" grow up and strike out on their own. Happens all
>the time in the music biz. Just in hip-hop, De La did three
>albums with Prince Paul and started produced on their own. The
>entire Juice Crew moved on from Marley Marl. Rakim stopped
>messing with Eric B. On the business tip, Jay-Z struck off
>from Dame. In this case, it had been a long time coming, as
>ONP was doing less and less production for Outkast on each
>successive album; Organized only did four tracks on Aquemini
>and three tracks on Stankonia. Shoot, the whole purpose of
>Speakerboxxx/Love Below was Boi and 3000 showing what they
>could do on their own, as individual artists, apart from each
>other.
>
>They then had five minutes of Rico saying he deserved credit
>for not taking Outkast's publishing when he could have. It
>reminded me of Chris Rock's "I take care of my kids!" bit.
>Yeah, that's what you're supposed to do.
>
>Organized Noise benefited a lot and made a ton of money based
>on their relationship to Outkast. Their success as the
>producers of "Southernplayalistic" helped get them the job
>producing "Waterfalls", and certainly contributed into them
>getting a $20 million distro deal from Interscope. 'Kast did
>just fine by them. Rico mostly sounded mad because they didn't
>use ONP **right** at the time the calls stopped coming in and
>he was putting enough coke up his nose to sustain Colombia.
>
>It should also be noted that Speakerboxxx/Love Below was the
>ONLY Outkast/Big Boi-related album where there was no ONP.
>They did four tracks on Idlewild and a few songs on both of
>Big Boi's solo albums.


I get that fam but on national television, you're getting the highest honor possible in the music industry, you start thanking the people who have helped you get there, how does Organized Noize not get mentioned?

>I get that fam but on national television, you're getting the
>highest honor possible in the music industry, you start
>thanking the people who have helped you get there, how does
>Organized Noize not get mentioned?

Award shows are always a cluster-fuck. People forget to mention others during acceptance speeches all the time. They get caught up in the moment.

But either way, I don't think he's wrong. And we need to make this clear, Rico didn't say he wanted to produce on STLB. He said he just wanted to be in the studio with them, to see their process. I don't think that's so wrong or asking too much. And again, I can't stress enough that I think that sin would have been forgotten had they been thanked at the Grammys. Conversely, the fact that they weren't only served to multiply the anger about the STLB situation.


>They then had five minutes of Rico saying he deserved credit
>for not taking Outkast's publishing when he could have. It
>reminded me of Chris Rock's "I take care of my kids!" bit.
>Yeah, that's what you're supposed to do.

No. Huge, huge fucking difference between raising your own blood and taking in random neighborhood kids who can rap and TREATING them like kids to get them a record deal. Parents are doing "what they're supposed to do" raising their kids. Producers don't owe anything to neighborhood kids.

Like I said above, award show acceptance speeches are almost always messes. People get caught in the moment and forget people all the time. Just think about Oscar/Golden Globe snafus where it looked like the winner was snubbing someone, but they just forgot at the time.

>But either way, I don't think he's wrong. And we need to make
>this clear, Rico didn't say he wanted to produce on STLB. He
>said he just wanted to be in the studio with them, to see
>their process. I don't think that's so wrong.

I'll re-watch the scene, but I recall him explicitly saying that he wanted to be involved with the album. To give them ideas and to talk to the record label. And I can't speak for Big and Dre, but it could very be at that particular point in their careers, for those particular albums, they felt that they didn't need Rico in the studio with them to make those albums.

>No. Huge, huge fucking difference between raising your own
>blood and taking in random neighborhood kids who can rap and
>TREATING them like kids to get them a record deal. Parents are
>doing "what they're supposed to do" raising their kids.
>Producers don't owe anything to neighborhood kids.

But 'Kast doesn't "owe" them their publishing. So he couldn't justify a reason for taking it, other than "Well, everyone else did." It was everyone else who was doing wrong, and he did the right thing. Cool for him. But it doesn't guarantee his involvement in all of their future projects from that point forward. As producers, they very much profited regardless.

>Like I said above, award show acceptance speeches are almost
>always messes. People get caught in the moment and forget
>people all the time. Just think about Oscar/Golden Globe
>snafus where it looked like the winner was snubbing someone,
>but they just forgot at the time.

But there's a couple elements at play here. (1) I would hope that they would've at least PLANNED to thank them and just slipped up in the moment. In other words beforehand I would've hoped that the Dungeon Family/ON would've been high on the list of "thank yous" and they just got lost in the messiness, like you said, but (2) if that were the case, I would hope that after the fact they'd have reached out to Rico, Ray and Sleepy personally to say "yo we totally fucked that up, sorry, you know we love you" in which case Rico would've never felt the need to bring it up in a documentary 13 years later. So still - 'Kast fucked that up one way or the other IMO.


>I'll re-watch the scene, but I recall him explicitly saying
>that he wanted to be involved with the album. To give them
>ideas and to talk to the record label. And I can't speak for
>Big and Dre, but it could very be at that particular point in
>their careers, for those particular albums, they felt that
>they didn't need Rico in the studio with them to make those
>albums.

I'll re-watch too because maybe I nitpicked his language. Let's reconvene.

But yea - I agree to a certain extent with your last point. I just at the same time don't really blame Rico for feeling some kind of way.


>But 'Kast doesn't "owe" them their publishing. So he couldn't
>justify a reason for taking it, other than "Well, everyone
>else did." It was everyone else who was doing wrong, and he
>did the right thing. Cool for him. But it doesn't guarantee
>his involvement in all of their future projects from that
>point forward. As producers, they very much profited
>regardless.

Ha yea I mean I agree that the industry fucks over the artists but still, he went against industry standard to properly take care of his people, he deserves some credit for that considering HE didn't have to do that.
No one said it guaranteed work on future projects but I think our major disconnect is whether or not he was actually looking to work on the project or if he just wanted to be *there*.

>But there's a couple elements at play here. (1) I would hope
>that they would've at least PLANNED to thank them and just
>slipped up in the moment. In other words beforehand I would've
>hoped that the Dungeon Family/ON would've been high on the
>list of "thank yous" and they just got lost in the messiness,
>like you said

First, this wasn't the first Grammy night where they'd been winners. They'd won two Grammy's in 2002: one for "Ms. Jackson" and one for Stankonia as the rap album of the year. Then in 2003, for "Whole World." Now, I don' know if those awards were televised those years, and haven't even seen them anyway, but it's **possible** that they were and Kast thanked ONP on those nights. Can't say either way, but it's certainly possible.


but (2) if that were the case, I would hope
>that after the fact they'd have reached out to Rico, Ray and
>Sleepy personally to say "yo we totally fucked that up, sorry,
>you know we love you" in which case Rico would've never felt
>the need to bring it up in a documentary 13 years later. So
>still - 'Kast fucked that up one way or the other IMO.

Which is why I noted they worked with ONP on both Idlewild and both Big Boi's solo full-length. Big Boi even said on the doc that they were co-Executive Producing his next solo album. So I'm guessing that they worked it out to some extent. I'm guessing Rico just still holds a grudge.


>I'll re-watch too because maybe I nitpicked his language.
>Let's reconvene.

Will do.

>But yea - I agree to a certain extent with your last point. I
>just at the same time don't really blame Rico for feeling some
>kind of way.

I mean, I get it. Outkast were ascending to what would be they're highest height, and ONP was, at the time, on the way down, and Rico was looking for a way to make a big splash again. I think he just caught them at the time we they were each individually trying to prove themselves.

Watching them ascend to stardom
I knew there was going to be a downfall
Happens every damn time
Has anyone ever learned from others mistakes?

>Watching them ascend to stardom
>I knew there was going to be a downfall
>Happens every damn time
>Has anyone ever learned from others mistakes?

...made an astute point about "blowing up". They said something about how it just happens so fast, and I don't think you can really ever plan for it. This seems to be the same story every big act tells. Suddenly you go from making moderately successful music in your mom's basement to making "Waterfalls" and out of nowhere, overnight you're the most sought after production crew in music. There's no way to mentally prepare for what you'll need to handle that type of pressure and the business needs that come with it. Before you blow, you probably don't really have the money or foresight to get an attorney to pre-plan for the *possibility* that you may blow up and need a business savvy person to comb your contracts to make sure you're not signing a shitty deal or one that will ruin the balance you had previously.

In most cases, like this one, I imagine it happens out of nowhere and suddenly you have a contract to sign offering you more money than you ever imagined...and you don't want to walk out on some "let me think about it/have someone look at this" shit in fear that the contract won't be on the table when you come back with a decision. You just see $$$$ and assume you're cool and want to capitalize.

So I understand what you're saying re: learning from past mistakes but I don't think anyone can just assume they're gonna blow up and plan for it. If that makes sense.

I'm with ya on that aspect of it
It must be a trip to go from nothing to something like that
I'm talking about the heavy drug use and how the dope does 'em in every damn time...

>I'm talking about the heavy drug use and how the dope does 'em
>in every damn time...

http://board.okayplayer.com/okp.php?az=show_topic&forum=4&topic_id=12959997&mesg_id=12959997&listing_type=search#12960323


so that attitude is probably deep in the music industry and has been for a long time.


And, that's a pretty suicidal attitude.

Any drug can be "handled"... except maybe Krocodil.. lol

Haven't we had enough evidence presented to understand that its not the drug that is inherently "super" addictive but the circumstances in why you take and continue to take it...

Be clear.. ANY abuse of anything food, sex, drugs can lead to not so great consequences...

but thats on the person

>Any drug can be "handled"... except maybe Krocodil.. lol
>
>Haven't we had enough evidence presented to understand that
>its not the drug that is inherently "super" addictive but the
>circumstances in why you take and continue to take it...
>


to quote Revolution75 from reply #72:

"how the dope does 'em in every damn time..."


sounds like enough "evidence" to Revolution75 and me and...hopefully anybody else.

Sounds like anecdotes...

Even in the realm of THIS movie.. Sleepy seemed to be on more drugs than anyone (in the crew) and he became more famous as an artist during this time period..

Drugs were not their downfall lack of successful output during a specific period was...

and cautioning R-Tistic with the words "Now heroin...then yea" in R-Tistic's "Sex, Drugs, and Trap Music" post that I linked in reply #74....


.....sounds like somebody contradicting himself for obvious reasons.


Obvious because some stuff obviously CAN'T be handled - like coke.

Its jokes... I actually speak with R Tistic outside of #thissite

I grew up in the D.A.R.E era...

BUT..

I went to an ivy league school and I am in the music industry.... I've been socialized to coke use, prescription pills, weed, alcohol, psychedelics, lean etc ... But other drugs not so much and I fully admit that there are remnants of D.A.R.E programming whether I like it or not...

However I know youngins coming up that don't view heroin the same way and might see it no different than we see alcohol..

but here.. learn something

https://www.ted.com/talks/johann_hari_everything_you_think_you_know_about_addiction_is_wrong?language=en

http://www.democracynow.org/2014/1/6/drugs_arent_the_problem_neuroscientist_carl

and I'm glad this post exposed that.


with your jokes and contradicting.

TURN UP!!! (c) Jesus

I was dying when they were talking about making the En Vogue song. Rico was like, "they can't sing on this, it's a hip hop beat. Cool Breeze over here writing a verse."

That shit has little to no hip-hop elements, as it is now, IMO.

It's dope that they didn't snatch CB's track for it to become random track 17 on someone else's album.

>I was dying when they were talking about making the En Vogue
>song. Rico was like, "they can't sing on this, it's a hip hop
>beat. Cool Breeze over here writing a verse."

I actually laughed out loud multiple times during this thing. Was smiling a lot watching it. I love this type of shit. Could watch it for days. In fact I'm watching the Tribe doc on MTVLive as we speak haha

she heard the beat to "Ain't No Thing but a Chicken Wing", I laughed like shit. Cuz she was right...that beat was unreal.

>she heard the beat to "Ain't No Thing but a Chicken Wing", I
>laughed like shit. Cuz she was right...that beat was unreal.

https://www.youtube.com/watch?v=gOT8GpoIIhY

i wanted to see/hear more about the beats

why did it sound like they couldnt get music clearances for the sdtk?

like, in the sense that it had a subject matter, it was VERY focused. my issue was everyone kept repeating themselves and the soundbites kept starting to tell a story only for the documentary crew to bring in another soundbite that doubled back to where the previous one began.

Rico's stammering and being the lynchpin of those first 15 minutes didn't help, sorry to say.

but once the Dungeon gets founded, and they start talking about recording Player's Ball, from then on it was a super cool documentary. I wish it had been able to condense the introduction period a little bit and focus in way closer on 1992 - 1998, maybe even spend a little less time making excuses for their sparse placement the past 15-plus years.

I could've done without the teases that ONP is re-uniting with all their old friends and the ex-managers intimating an ONP/Kast album is due, too. That really diluted the end of the doc with this odd, somewhat pleading sort of tone considering it was also going out on Rico's issues with OutKast not involving them with SB/TLB.

~~~~~~~~~
"This is the streets, and I am the trap." � Jay Bilas
http://www.popmatters.com/pm/archive/contributor/517
Hip Hop Handbook: http://tinyurl.com/ll4kzz

Especially after watching the Tribe doc this Friday, I recognized that the ON doc was a *little* sloppy. I still thought it had a lot of really great moments and I enjoyed the hell out of it ... but it certainly could've been put together better.

I also agree re: the music clearances. I thought that as I was watching it....like, there was definitely a lack of beats playing throughout, videos, etc. That's a big part of the reason these types of docs are enjoyable. Hearing the tunes again while being told the great stories.

http://cbsloc.al/1XuXON7

I learn something new everytime I listen to these guys