I somewhat agree with your lengthy titangraph with the exception of two things:
First, your giving sample-oriented porducers a little too much credit. yea the softsynth, music sequencers of today made it to where anybody can get on a computer a make a track, but i know plenty producers who sample that are just as lazy. what u made an allusion to is more of an exception than a rule. yea i too like producers who can chop samples and use them in creative and inventive ways. but i cant tell u how many new crop, and by doing some research even old, producers would just take an approximately 5-10 sec snippet of a song, loop it, and just add drums on top of it. and imo, that's just as lethargic as a person getting on fruity loops and randomly throwing shit together. and this is coming from a musician who can appreciate all approaches to production
Secondly, your completely downplaying how much of a negative impact p.shitty has had on rap music. he is imo, who i really consider the beginning of the end. that shiny suit shit produced no classic material outside of biggie and the lox. all it did was over-materialize and over-commercialize the artform. say what u want about no-limit, as i wont dispute the fact that it did get to a point of it being quantity over quality, but that era did produce some classic cd's. such as ghetto d, there's one in every family, unpredictable, shell shocked, and give it 2 em raw. and while they did manage to break through to the mainstream, master p would still, for the most part keep the music street and hardcore. something that made the white corporate music executive a little apprehensive and reluctant to put the marketing machine behind. bad boy and their little metrosexual shiny suit fiasco on the other hand was now that same white corporate executive's wet dream. the music was uptempo, non-confrontational, and full of braggadocios rhymes which could possibly be marketed to white suburban teen demographic successfully. and what's ironic about this entire point is that during that time i actually listened to no limit to escape and get away from that dribble p. shitty was making. which was garbage then and still garbage now
First, your giving sample-oriented porducers a little too much credit. yea the softsynth, music sequencers of today made it to where anybody can get on a computer a make a track, but i know plenty producers who sample that are just as lazy. what u made an allusion to is more of an exception than a rule. yea i too like producers who can chop samples and use them in creative and inventive ways. but i cant tell u how many new crop, and by doing some research even old, producers would just take an approximately 5-10 sec snippet of a song, loop it, and just add drums on top of it. and imo, that's just as lethargic as a person getting on fruity loops and randomly throwing shit together. and this is coming from a musician who can appreciate all approaches to production
Secondly, your completely downplaying how much of a negative impact p.shitty has had on rap music. he is imo, who i really consider the beginning of the end. that shiny suit shit produced no classic material outside of biggie and the lox. all it did was over-materialize and over-commercialize the artform. say what u want about no-limit, as i wont dispute the fact that it did get to a point of it being quantity over quality, but that era did produce some classic cd's. such as ghetto d, there's one in every family, unpredictable, shell shocked, and give it 2 em raw. and while they did manage to break through to the mainstream, master p would still, for the most part keep the music street and hardcore. something that made the white corporate music executive a little apprehensive and reluctant to put the marketing machine behind. bad boy and their little metrosexual shiny suit fiasco on the other hand was now that same white corporate executive's wet dream. the music was uptempo, non-confrontational, and full of braggadocios rhymes which could possibly be marketed to white suburban teen demographic successfully. and what's ironic about this entire point is that during that time i actually listened to no limit to escape and get away from that dribble p. shitty was making. which was garbage then and still garbage now
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