Why Do Down South Cats Like and Support Garbage Rappers?

[BackInWhite]

Niggas on this site dont understand "wack" is subjective...

Like what yall think is wack dont make it law my nigga...

You don't know how logic works.

Just because you like McDonald doesn't make it a good fast food.

LMAO, Southerners like you make us look bad.

naw, nigga YOU don't understand logic

if a nigga like McDonald's then IT'S GOOD TO HIM

fuck if you hate it and fuck how you feel

a nigga don't owe you no explanation about why he like some shit

southerners like you make fuck niggas look good

you out here shuckin n jivin for west coast coons and east coast faggots but you still a down south dumbass to both of them

As always the southerners don't get it the analogies.

What else is new?

Party music is good for the moment

To set the tone yea

In the long term hell no.

Just like McDonald.

who are you to say what a nigga should like for the long term?

on top of that mcdonald's causes health problems if you eat it long enough

point out to me some statistics and studies that show that "wack" music causes health problems

as always a smart dumb nigga makes an analogy that is quite irrelevant

 

[A1000MILES]

^^^ Wow, that's some bullshit...

 

[BackInWhite]

niggas out here havin heart attacks from gucci mane albums

 

[NoCompetition]

Yeah, hey it dont matter.

 

[themadlionsfan]

http://[media=youtube]-Fd3AvORg5s[/media]=youtube_gdata_player

[URL]http://vimeo.com/20261317

 

[OGClarenceBoddicker]

Niggas on this site dont understand "wack" is subjective...

Like what yall think is wack dont make it law my nigga...

You don't know how logic works.

Just because you like McDonald doesn't make it a good fast food.

LMAO, Southerners like you make us look bad.

naw, nigga YOU don't understand logic

if a nigga like McDonald's then IT'S GOOD TO HIM

fuck if you hate it and fuck how you feel

a nigga don't owe you no explanation about why he like some shit

southerners like you make fuck niggas look good

you out here shuckin n jivin for west coast coons and east coast faggots but you still a down south dumbass to both of them

Alotta that fuck shit be goin on round these parts

 

[Built 4 cuban linx]

niggas need to argue about more important shit than about/for land you niggas don't even run.

 

[BackInWhite]

these niggas be out here tryna appease these invisible ass niggas

for what?

so you can look to a nigga online?

"i'm from the south but i love krs-one. his first album is in heavy rotation, real talk"

shut the fuck up, nigga

"southerners like you make us look bad"

look bad to who?

a ic nigga?

 

[Maximus Rex]

it ain't always about lyricism nigga

sometimes you just like the beat and the fly shit a nigga sayin over it

every song ain't supposed to make you think or teach you some shit

What do mean "it isn't about lyricism," rap IS LYRICISM. That's what makes it so disheartening when these garbage niggas get shine, it devalues rap on the whole and make it seem like anybody can do it. BTW, when did lyricism become synonymous with "deep philosophical," rap? You mean to tell that if a nigga has lyrics, then he can't make a party record? Early rap records were nothing but party records and if you ask me, it's something the genre desperately needs a an emcee that's diverse and talented enough to do an album mostly full of fun, happy, dance records, kinda like the shit Kid N Play and The Fresh Prince used to make, but the dude doing the songs is definitely skilled out lyrically. This a perfect example of a party that has lyrics:

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

I think alot of brothers from the south felt marginalized during the 80ties and early to mid 90ties because their version of hip hop didn't get the credit they felt it deserved and they didn't have alot of artists repping for them and their way of life. While you had wack acts the bar was high during those days. Hip hop progressed from the emcee being complementary to the beat/ dj to the emcee being on the forefront. Rappers progressed from spitting 'simple' rhymes utilizing a 'simple' flow (think Audio 2 and even Run DMC to a certain extent) to spitting complex rhymes while often using more than one flow. Rakim and the Juice Crew played a big part in this shift. While these so called old school rappers were getting played out towards the late 80ties/ early 90ties all these rappers seemed to have artistic integrity and took their craft seriously like any artist would have. There wasn't that much money in this game compared to now so you had to have a certain love forthe genre....

I disagree, that was NYC and their hassa diddy ass with the attitude, that "if didn't come out of the five boroughs, it ain't rap," attitude. In Bay we fucked with Geto Boys and the 2 Live Crew.

These southern brothers didn't get that recognition they craved for. Ffwd to '95/ '96. Master P blew and in hindsight he opened the floodgates for alot of these southern rappers. P brought that 'hustler' attitude with him. He treated this rapgame like a (street)hustler would. He 'gave the fiends/ people what they wanted' and wasn't worried about no artistic integrity. He made it very clear he wasn't a rapper but a hustler. By doing so the unwritten rules like no biting etc. wouldn't apply to him and you couldn't hold him accountable for his rhymes or the music he put out...

These fans were thrilled because finally they had a 'real n*gga' reppin' for them and their lifestyle on an international stage. Unlike these one hit wonders P's version of hip hop was dominating the airwaves and P was getting cosigned by credible artists. Credible artists collaborated with P and his camp. These fans felt it was their time to shine. P's success was their success. Any criticism was seen as hating. Any valid argument was countered with something like "let him get his money". In that climate no talent "miss me with that rapsh*t" rappers could find their way in the game and sustain. During P's run production started to become more important than the emcee. Rappers could get away with talking on records (instead of rapping/ flowing) and having their tracks sound like long hooks. No talent rappers could sustain by being part of a clique, having a certain image and sticking to a popular sound. Rappers could get away with acting like they didn't care about the genre. It was no coincidence P and his camp started falling off when Beats By The Pound left.

His reign symbolized not only regression but a devaluation of the emcee and the genre. Like I stated earlier he opened the floodgates for these brothers and after him alot of these rappers from the south found their way into the game...

Again, I disagree because only NYC wasn't feeling Southern rappers, we fucked with the Geto Boys, Big Mike, 2Live Crew, Poison Clan, The Convicts, and the Odd Squad. We weren't trippin off of region, if you were tight you were tight.

And you have to remember, the only reason why P went back down South is because niggas from the Bay wasn't fucking with him, (that and allegations of faulty business practices,) I remember when No Limit Records was literally a record store on San Pablo Ave a lot away from KFC. Hell, on P's early records, he didn't even mention N.O., he was shouting Richmond.

Regardless of my feelings P's music, he's a cool dude and I have to give him props for successfully finding a way to market garbage.

 

[BackInWhite]

it ain't always about lyricism nigga

sometimes you just like the beat and the fly shit a nigga sayin over it

every song ain't supposed to make you think or teach you some shit

What do mean "it isn't about lyricism," rap IS LYRICISM. That's what makes it so disheartening when these garbage niggas get shine, it devalues rap on the whole and make it seem like anybody can do it. BTW, when did lyricism become synonymous with "deep philosophical," rap? You mean to tell that if a nigga has lyrics, then he can't make a party record? Early rap records were nothing but party records and if you ask me, it's something the genre desperately needs a an emcee that's diverse and talented enough to do an album mostly full of fun, happy, dance records, kinda like the shit Kid N Play and The Fresh Prince used to make, but the dude doing the songs is definitely skilled out lyrically. This a perfect example of a party that has lyrics:

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

I think alot of brothers from the south felt marginalized during the 80ties and early to mid 90ties because their version of hip hop didn't get the credit they felt it deserved and they didn't have alot of artists repping for them and their way of life. While you had wack acts the bar was high during those days. Hip hop progressed from the emcee being complementary to the beat/ dj to the emcee being on the forefront. Rappers progressed from spitting 'simple' rhymes utilizing a 'simple' flow (think Audio 2 and even Run DMC to a certain extent) to spitting complex rhymes while often using more than one flow. Rakim and the Juice Crew played a big part in this shift. While these so called old school rappers were getting played out towards the late 80ties/ early 90ties all these rappers seemed to have artistic integrity and took their craft seriously like any artist would have. There wasn't that much money in this game compared to now so you had to have a certain love forthe genre....

I disagree, that was NYC and their hassa diddy ass with the attitude, that "if didn't come out of the five boroughs, it ain't rap," attitude. In Bay we fucked with Geto Boys and the 2 Live Crew.

These southern brothers didn't get that recognition they craved for. Ffwd to '95/ '96. Master P blew and in hindsight he opened the floodgates for alot of these southern rappers. P brought that 'hustler' attitude with him. He treated this rapgame like a (street)hustler would. He 'gave the fiends/ people what they wanted' and wasn't worried about no artistic integrity. He made it very clear he wasn't a rapper but a hustler. By doing so the unwritten rules like no biting etc. wouldn't apply to him and you couldn't hold him accountable for his rhymes or the music he put out...

These fans were thrilled because finally they had a 'real n*gga' reppin' for them and their lifestyle on an international stage. Unlike these one hit wonders P's version of hip hop was dominating the airwaves and P was getting cosigned by credible artists. Credible artists collaborated with P and his camp. These fans felt it was their time to shine. P's success was their success. Any criticism was seen as hating. Any valid argument was countered with something like "let him get his money". In that climate no talent "miss me with that rapsh*t" rappers could find their way in the game and sustain. During P's run production started to become more important than the emcee. Rappers could get away with talking on records (instead of rapping/ flowing) and having their tracks sound like long hooks. No talent rappers could sustain by being part of a clique, having a certain image and sticking to a popular sound. Rappers could get away with acting like they didn't care about the genre. It was no coincidence P and his camp started falling off when Beats By The Pound left.

His reign symbolized not only regression but a devaluation of the emcee and the genre. Like I stated earlier he opened the floodgates for these brothers and after him alot of these rappers from the south found their way into the game...

Again, I disagree because only NYC wasn't feeling Southern rappers, we fucked with the Geto Boys, Big Mike, 2Live Crew, Poison Clan, The Convicts, and the Odd Squad. We weren't trippin off of region, if you were tight you were tight.

And you have to remember, the only reason why P went back down South is because niggas from the Bay wasn't fucking with him, (that and allegations of faulty business practices,) I remember when No Limit Records was literally a record store on San Pablo Ave a lot away from KFC. Hell, on P's early records, he didn't even mention N.O., he was shouting Richmond.

Regardless of my feelings P's music, he's a cool dude and I have to give him props for successfully finding a way to market garbage.

i ain't read that my nigga

after you said it's ALWAYS about lyrics, i stopped readin

three 6 got whole songs with nothin but a beat and a chorus and them shits used to go extra hard

plus.....it's a mac dre video in your post, idk if you knew that or not

but mac dre is garbage beyond garbage

don't try to prove a point to me about lyrics and then negate an entire post with a mac dre youtube

 

[Muhannad]

I think a rapper or a song can be wack but still enjoyable. I said this in another thread.


I actually liked this track back in '05 and bumped it alot but basically this tracki is one long hook. Gucci isn't really rapping on this track, but I liked it when it dropped...

 

[BackInWhite]

i don't take this thread seriously anymore

this nigga is a mac dre fan and he got the nerve to call out garbage rap fans

 

[NoCompetition]

There is no consensus "garbage rap". Different people like different stuff. Being mad at what others like is overboard. And useless. Anyway, IM out.

 

[Peezy_Jenkins]

ion een feel like it today

 

[Muhannad]

it ain't always about lyricism nigga

sometimes you just like the beat and the fly shit a nigga sayin over it

every song ain't supposed to make you think or teach you some shit

What do mean "it isn't about lyricism," rap IS LYRICISM. That's what makes it so disheartening when these garbage niggas get shine, it devalues rap on the whole and make it seem like anybody can do it. BTW, when did lyricism become synonymous with "deep philosophical," rap? You mean to tell that if a nigga has lyrics, then he can't make a party record? Early rap records were nothing but party records and if you ask me, it's something the genre desperately needs a an emcee that's diverse and talented enough to do an album mostly full of fun, happy, dance records, kinda like the shit Kid N Play and The Fresh Prince used to make, but the dude doing the songs is definitely skilled out lyrically. This a perfect example of a party that has lyrics:

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

I think alot of brothers from the south felt marginalized during the 80ties and early to mid 90ties because their version of hip hop didn't get the credit they felt it deserved and they didn't have alot of artists repping for them and their way of life. While you had wack acts the bar was high during those days. Hip hop progressed from the emcee being complementary to the beat/ dj to the emcee being on the forefront. Rappers progressed from spitting 'simple' rhymes utilizing a 'simple' flow (think Audio 2 and even Run DMC to a certain extent) to spitting complex rhymes while often using more than one flow. Rakim and the Juice Crew played a big part in this shift. While these so called old school rappers were getting played out towards the late 80ties/ early 90ties all these rappers seemed to have artistic integrity and took their craft seriously like any artist would have. There wasn't that much money in this game compared to now so you had to have a certain love forthe genre....

I disagree, that was NYC and their hassa diddy ass with the attitude, that "if didn't come out of the five boroughs, it ain't rap," attitude. In Bay we fucked with Geto Boys and the 2 Live Crew.

All I was saying is their version of hip hop wasn't getting the recognition they felt it deserved. Acts like Geto Boys got respect.

These southern brothers didn't get that recognition they craved for. Ffwd to '95/ '96. Master P blew and in hindsight he opened the floodgates for alot of these southern rappers. P brought that 'hustler' attitude with him. He treated this rapgame like a (street)hustler would. He 'gave the fiends/ people what they wanted' and wasn't worried about no artistic integrity. He made it very clear he wasn't a rapper but a hustler. By doing so the unwritten rules like no biting etc. wouldn't apply to him and you couldn't hold him accountable for his rhymes or the music he put out...

These fans were thrilled because finally they had a 'real n*gga' reppin' for them and their lifestyle on an international stage. Unlike these one hit wonders P's version of hip hop was dominating the airwaves and P was getting cosigned by credible artists. Credible artists collaborated with P and his camp. These fans felt it was their time to shine. P's success was their success. Any criticism was seen as hating. Any valid argument was countered with something like "let him get his money". In that climate no talent "miss me with that rapsh*t" rappers could find their way in the game and sustain. During P's run production started to become more important than the emcee. Rappers could get away with talking on records (instead of rapping/ flowing) and having their tracks sound like long hooks. No talent rappers could sustain by being part of a clique, having a certain image and sticking to a popular sound. Rappers could get away with acting like they didn't care about the genre. It was no coincidence P and his camp started falling off when Beats By The Pound left.

His reign symbolized not only regression but a devaluation of the emcee and the genre. Like I stated earlier he opened the floodgates for these brothers and after him alot of these rappers from the south found their way into the game...

Again, I disagree because only NYC wasn't feeling Southern rappers, we fucked with the Geto Boys, Big Mike, 2Live Crew, Poison Clan, The Convicts, and the Odd Squad. We weren't trippin off of region, if you were tight you were tight.

And you have to remember, the only reason why P went back down South is because niggas from the Bay wasn't fucking with him, (that and allegations of faulty business practices,) I remember when No Limit Records was literally a record store on San Pablo Ave a lot away from KFC. Hell, on P's early records, he didn't even mention N.O., he was shouting Richmond.

Regardless of my feelings P's music, he's a cool dude and I have to give him props for successfully finding a way to market garbage.

I wasn't really talking about acts like Geto Boys though. I was referring to acts that remained local. Acts that made music they could relate to, talked like they talked and repped their way of life.

 

[BackInWhite]

mac fuckin dre

i'm appalled

 

[Cutler 26 INT's LOL!]

Naw niggas want rappers to preach to em over a DJ Premire beat...

 

[N YO HOOD]

a lot of south niggas got there game from the bay ask Master P

 

[Peezy_Jenkins]

nigga you from the bay

thread shoulda ended right here

 

[Maximus Rex]

i ain't read that my nigga

after you said it's ALWAYS about lyrics, i stopped readin

three 6 got whole songs with nothin but a beat and a chorus and them shits used to go extra hard

plus.....it's a mac dre video in your post, idk if you knew that or not

but mac dre is garbage beyond garbage

don't try to prove a point to me about lyrics and then negate an entire post with a mac dre youtube

Then what is about, then? A rapper not having lyrics is analogous to a singer not being to sing. That's what I'm talking, anybody who doesn't acknowledge that Dre had lyrics is somebody I can't seriously in this particular discussion. And this coming from somebody who believed that Dre was indeed garbage prior to going the Feds.

Lyrics to Lame Saturated :

[Verse 1:]

Dre dips more whips than the man on Grand Theft Auto

Catch me in five hundred sedan S model

Killer whale on my tail trying to catch and follow

But Dres ghost get ghost, I scram press throttle

Give a damn spending grands me and my mans be at the grotto

Trying to steal a rich Lucy from a Ricky Ricardo

Fuck a wife I want a hoe that look like Nelly Furtado

To take me skiing in Aspen Colorado

Cash in like the Lotto then pass me the bottle

Cause they know live life lav is my motto

This is not the Apollo I don't care if you like me

I'm Gucci, Louie nigga read these Nike's

Mac Dres gets hyphy, cop trees from Mikey

I'm a viking always striking, never hyphy I'm doing my thing

Fresh clothes from the dry clean, and my bling shine like high beam

I'm a eighteen wheeler, nigga I'm realer

So I can steal her, peal her, and drill her

I'm the dope rhyme dealer

Bust like a nine milla got hoes in Chowchilla

Cutt throatettes, cause my hoes are realer

My hoes are stealer's, boosters, and pick pockets

Get profit and prey for pimp profits

Trick stop it before I take it there

Quit while your ahead you'll never make it player

[Chorus:]

Man this games been bladed, its lame saturated

I don't know how these cats made it

They must be all related

Your making things complicated

You need your mic hand amputated

I can't be faded this games been bladed, it's lame saturated

I don't know how these cats done made

They must be all related they making things complicated

You need your mic hand amputated

[Verse 2:]

I can't be faded you Macs done ran out of words

I spit predicates, pronouns, and adverbs

Everybody talking about copping birds

You ever cop four pounds of white widow from a nerd

Your game is to the curb might got to conserve

No flavor you lack herbs

Your not seasoned like honky food

Your not funky dude, your beats ain't bumping dude

Its fools like you the give the game a bad name

You beach cruiser loser, stay in the bike lane

Or get ran over, found bent over

You can't be a rapper, you be to damn sober

Your yogurt passed the expiration date

Got no work no cash and you perpetrate

Come on cut it out, I stay high and blunted out

Unraveled and gutted out

That's pure lyricism, you claim that Dre is wack, Three 6 Mafia only have two decent, maybe three decent potna. The these Southern cats is that don't have a frame of reference to what true lyricism is and they don't know it when they here it. Post Feds Dre wackest verse>>>> 3 Six Mafia Best verses.