Cultural Vultures Are Taking Rap Over
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Fat shout to the 4 XIV gorillas-The Jacka
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Aztec_Kang wrote: »I'm from the Mission District
Cool, I grew up on Cortland & Mission -
The Recipe wrote: »konceptjones wrote: »
Bruh nobody was saying this about the bolded majority of folks didnt know they even existed then or now.
It was a big enough of a concern that The Source had a full write up on it back in the early 90's. I wanna say... 92 or 93.
MC 900ft Jesus was popular as hell on college campuses across the country, especially after this single on his 3rd album
https://www.youtube.com/watch?v=LA-AvBjBm5k
Tairrie B's "Murder She Wrote" charted in Billboard's Hot Rap Singles.
https://www.youtube.com/watch?v=yG45At8jhd8
Blood of Abraham's first album "Future Profits" went gold.
https://www.youtube.com/watch?v=S4vrkD40piA
And Krazee White Boy's joint "Hey ? Eater" could be heard pretty much anywhere that played ? with a Miami Bass-type of sound.
https://www.youtube.com/watch?v=YasxINV_yGk
Basically, you're wrong. -
HerbalVaporCapers wrote: »Aztec_Kang wrote: »I'm from the Mission District
Cool, I grew up on Cortland & Mission
Errayyy.....I grew up in the heart of the Mission
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konceptjones wrote: »The Recipe wrote: »konceptjones wrote: »
Bruh nobody was saying this about the bolded majority of folks didnt know they even existed then or now.
It was a big enough of a concern that The Source had a full write up on it back in the early 90's. I wanna say... 92 or 93.
MC 900ft Jesus was popular as hell on college campuses across the country, especially after this single on his 3rd albumhttps://www.youtube.com/watch?v=LA-AvBjBm5k
Tairrie B's "Murder She Wrote" charted in Billboard's Hot Rap Singles.https://www.youtube.com/watch?v=yG45At8jhd8
Blood of Abraham's first album "Future Profits" went gold.https://www.youtube.com/watch?v=S4vrkD40piA
And Krazee White Boy's joint "Hey ? Eater" could be heard pretty much anywhere that played ? with a Miami Bass-type of sound.https://www.youtube.com/watch?v=YasxINV_yGk
Basically, you're wrong.
According to him. If your white you're a wack rapper. -
The Recipe wrote: »Scusted that you know so much about a cat named lil pump.
All I bump is Bruse Wane and KB Da Kidnappa because that's what the IC taught me.
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That’s kuz mfers act like they can’t like or support more than one artist at a time. You either Drake or Meek, Kendrick or Cole, jay or nas, Beyonce or Rihanna etc etc so that’s opening the gate to these white artists and their fan base to propel them at the top of our genre. If we’d just SUPPORTED our artists we’d be better off.
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grumpy_new_yorker wrote: »The Recipe wrote: »Scusted that you know so much about a cat named lil pump.
All I bump is Bruse Wane and KB Da Kidnappa because that's what the IC taught me.
You ain't trying to bump that Shenco boy meets world soundtrack fiya????? -
That's not the beginnings tho... hip-hop is older than all those guys careersThe Recipe wrote: »
How is it cultural appropriation when whites (and latinos for that matter) were a part of it from day one? -
HerbalVaporCapers wrote: »grumpy_new_yorker wrote: »The Recipe wrote: »Scusted that you know so much about a cat named lil pump.
All I bump is Bruse Wane and KB Da Kidnappa because that's what the IC taught me.
You ain't trying to bump that Shenco boy meets world soundtrack fiya?????
Shenco got tuff bars for days, but he can't hold a candle to Bruse Wane's godly flow. -
grumpy_new_yorker wrote: »HerbalVaporCapers wrote: »grumpy_new_yorker wrote: »The Recipe wrote: »Scusted that you know so much about a cat named lil pump.
All I bump is Bruse Wane and KB Da Kidnappa because that's what the IC taught me.
You ain't trying to bump that Shenco boy meets world soundtrack fiya?????
Shenco got tuff bars for days, but he can't hold a candle to Bruse Wane's godly flow.
You ain't never lied
Look
What can you say, that I haven't heard?/
Since the area is gray, and the lines have been blurred/
Y'all be living life in the bubble, straight scurred/
While I'm on the front lines, with the crazed and disturbed
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HerbalVaporCapers wrote: »You ain't never lied
Look
What can you say, that I haven't heard?/
Since the area is gray, and the lines have been blurred/
Y'all be living life in the bubble, straight scurred/
While I'm on the front lines, with the crazed and disturbed
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konceptjones wrote: »That's not the beginnings tho... hip-hop is older than all those guys careersThe Recipe wrote: »
How is it cultural appropriation when whites (and latinos for that matter) were a part of it from day one?
They don’t know the culture of hip hop. -
konceptjones wrote: »That's not the beginnings tho... hip-hop is older than all those guys careersThe Recipe wrote: »
How is it cultural appropriation when whites (and latinos for that matter) were a part of it from day one?
? WHITES WERE NOT IN IT FROM DAY ONE they jumped on it to get money and fame. Well after all the arts of hip hop were established
Latinos however that another matter -
The user and all related content has been deleted.
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White Man Jus Rulin
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konceptjones wrote: »That's not the beginnings tho... hip-hop is older than all those guys careersThe Recipe wrote: »
How is it cultural appropriation when whites (and latinos for that matter) were a part of it from day one?
? WHITES WERE NOT IN IT FROM DAY ONE they jumped on it to get money and fame. Well after all the arts of hip hop were established
Latinos however that another matter
The core elements of hip hop are B-boying, Grafitti, Turntablism, and Rapping.
NYC's B-boying borrowed heavily from LA's locking. The Campbell Lockers, later named just The Lockers, was a dance crew from LA that originated pop-locking that had among it's original members in 1971(and throughout the 70's) Toni Basil, the white chick that went on to 1-hit wonder fame with the song "Hey Mickey" in '81. Plenty of those old NYC B-Boy crews had whites in their rosters with a lot of them being chicks.
White Graf artists were around in NYC back in the early 70's doing work right alongside Black and Latino artists. Cats like Bil Rock, Min, and a whole slew of other white dudes were very active bombing back in the day and very much integrated into the Graf scene.
DJ's? From the late 70's throughout the 80's there's always been a few white cats though they were always overshadowed by Black and Latino DJ's.
Rappers: This is the sole place where Black men had exclusivity with the formation of hip hop. Granted, white cats were a part of the early hip hop sound of they late 70's and early 80's as the creators of some of hip hop's most memorable joints from the early 80's (like the aforementioned Man Parrish, Gordon Bahary, and Arthur Baker), but as far as MC's go this was the Black man's stronghold until 1983 when the Beastie Boys dropped "Cooky ? ".
In the early 80's there was almost no money in hip hop and the only fame there was to be had was likely local to your immediate area or region. They didn't do it for fame or money, but to say "I did that". -
konceptjones wrote: »konceptjones wrote: »That's not the beginnings tho... hip-hop is older than all those guys careersThe Recipe wrote: »
How is it cultural appropriation when whites (and latinos for that matter) were a part of it from day one?
? WHITES WERE NOT IN IT FROM DAY ONE they jumped on it to get money and fame. Well after all the arts of hip hop were established
Latinos however that another matter
The core elements of hip hop are B-boying, Grafitti, Turntablism, and Rapping.
NYC's B-boying borrowed heavily from LA's locking. The Campbell Lockers, later named just The Lockers, was a dance crew from LA that originated pop-locking that had among it's original members in 1971(and throughout the 70's) Toni Basil, the white chick that went on to 1-hit wonder fame with the song "Hey Mickey" in '81. Plenty of those old NYC B-Boy crews had whites in their rosters with a lot of them being chicks.
White Graf artists were around in NYC back in the early 70's doing work right alongside Black and Latino artists. Cats like Bil Rock, Min, and a whole slew of other white dudes were very active bombing back in the day and very much integrated into the Graf scene.
DJ's? From the late 70's throughout the 80's there's always been a few white cats though they were always overshadowed by Black and Latino DJ's.
Rappers: This is the sole place where Black men had exclusivity with the formation of hip hop. Granted, white cats were a part of the early hip hop sound of they late 70's and early 80's as the creators of some of hip hop's most memorable joints from the early 80's (like the aforementioned Man Parrish, Gordon Bahary, and Arthur Baker), but as far as MC's go this was the Black man's stronghold until 1983 when the Beastie Boys dropped "Cooky ? ".
In the early 80's there was almost no money in hip hop and the only fame there was to be had was likely local to your immediate area or region. They didn't do it for fame or money, but to say "I did that".
C'mon, bruh. You know damn well muthafuckas like Post Malone and Lil Peep are nothing like the white boys that helped formulate the sound of hip-hop. That shouldn't even need to be stated. Smh.
You're making unnecessary points. No one is talking about proven acts like The Beastie Boys here. -
grumpy_new_yorker wrote: »HerbalVaporCapers wrote: »grumpy_new_yorker wrote: »The Recipe wrote: »Scusted that you know so much about a cat named lil pump.
All I bump is Bruse Wane and KB Da Kidnappa because that's what the IC taught me.
You ain't trying to bump that Shenco boy meets world soundtrack fiya?????
Shenco got tuff bars for days, but he can't hold a candle to Bruse Wane's godly flow.
"Im shooting for the stars and, I ain't settling for nothing less"
"Fishing for caviar, but gettin turkey bacon
Hip-hop is bad politics like Sarah Palin" -
There is a huge difference between which rappers are topping the singles chart and which rappers have the top album sales/concert attendance.The rap singles chart is a rotating wheel that allows a few rappers at a time have single sales. Remember Fetty Wap was on that ? a few years back now he is milk carton status.
On the flip side when it comes to solid album sales Kendrick and Cole and Jay are the ? who are selling the most year in and year out. And yes after then the rest of the lyrical ? ain't going plat sure. But underground lyrical rappers can still make a living and continue giving their fans quality music via being indy. -
genocidecutter wrote: »
"Im shooting the stars and, I ain't settling for nothing less"
"Fishing for caviar, but gettin turkey bacon
Hip-hop is bad politics like Sarah Palin"
5 mics. Legendary.
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All by design.
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Like Water wrote: »konceptjones wrote: »konceptjones wrote: »That's not the beginnings tho... hip-hop is older than all those guys careersThe Recipe wrote: »
How is it cultural appropriation when whites (and latinos for that matter) were a part of it from day one?
? WHITES WERE NOT IN IT FROM DAY ONE they jumped on it to get money and fame. Well after all the arts of hip hop were established
Latinos however that another matter
The core elements of hip hop are B-boying, Grafitti, Turntablism, and Rapping.
NYC's B-boying borrowed heavily from LA's locking. The Campbell Lockers, later named just The Lockers, was a dance crew from LA that originated pop-locking that had among it's original members in 1971(and throughout the 70's) Toni Basil, the white chick that went on to 1-hit wonder fame with the song "Hey Mickey" in '81. Plenty of those old NYC B-Boy crews had whites in their rosters with a lot of them being chicks.
White Graf artists were around in NYC back in the early 70's doing work right alongside Black and Latino artists. Cats like Bil Rock, Min, and a whole slew of other white dudes were very active bombing back in the day and very much integrated into the Graf scene.
DJ's? From the late 70's throughout the 80's there's always been a few white cats though they were always overshadowed by Black and Latino DJ's.
Rappers: This is the sole place where Black men had exclusivity with the formation of hip hop. Granted, white cats were a part of the early hip hop sound of they late 70's and early 80's as the creators of some of hip hop's most memorable joints from the early 80's (like the aforementioned Man Parrish, Gordon Bahary, and Arthur Baker), but as far as MC's go this was the Black man's stronghold until 1983 when the Beastie Boys dropped "Cooky ? ".
In the early 80's there was almost no money in hip hop and the only fame there was to be had was likely local to your immediate area or region. They didn't do it for fame or money, but to say "I did that".
C'mon, bruh. You know damn well muthafuckas like Post Malone and Lil Peep are nothing like the white boys that helped formulate the sound of hip-hop. That shouldn't even need to be stated. Smh.
You're making unnecessary points. No one is talking about proven acts like The Beastie Boys here.
The point I was making was how do you call white rappers "cultural appropriators" when white dudes have been around since the very beginning of hip hop? They were a part of the formation of hip hop as a whole, so there's nothing about their presence that says, to me, they're appropriating the culture. They were b-boys, they were graf aritst, they were dj's they were producers, they were MC's (though admittedly few at first), so how does that work? Are they not entitled to have a claim to hip hop like we do? -
konceptjones wrote: »Like Water wrote: »konceptjones wrote: »konceptjones wrote: »That's not the beginnings tho... hip-hop is older than all those guys careersThe Recipe wrote: »
How is it cultural appropriation when whites (and latinos for that matter) were a part of it from day one?
? WHITES WERE NOT IN IT FROM DAY ONE they jumped on it to get money and fame. Well after all the arts of hip hop were established
Latinos however that another matter
The core elements of hip hop are B-boying, Grafitti, Turntablism, and Rapping.
NYC's B-boying borrowed heavily from LA's locking. The Campbell Lockers, later named just The Lockers, was a dance crew from LA that originated pop-locking that had among it's original members in 1971(and throughout the 70's) Toni Basil, the white chick that went on to 1-hit wonder fame with the song "Hey Mickey" in '81. Plenty of those old NYC B-Boy crews had whites in their rosters with a lot of them being chicks.
White Graf artists were around in NYC back in the early 70's doing work right alongside Black and Latino artists. Cats like Bil Rock, Min, and a whole slew of other white dudes were very active bombing back in the day and very much integrated into the Graf scene.
DJ's? From the late 70's throughout the 80's there's always been a few white cats though they were always overshadowed by Black and Latino DJ's.
Rappers: This is the sole place where Black men had exclusivity with the formation of hip hop. Granted, white cats were a part of the early hip hop sound of they late 70's and early 80's as the creators of some of hip hop's most memorable joints from the early 80's (like the aforementioned Man Parrish, Gordon Bahary, and Arthur Baker), but as far as MC's go this was the Black man's stronghold until 1983 when the Beastie Boys dropped "Cooky ? ".
In the early 80's there was almost no money in hip hop and the only fame there was to be had was likely local to your immediate area or region. They didn't do it for fame or money, but to say "I did that".
C'mon, bruh. You know damn well muthafuckas like Post Malone and Lil Peep are nothing like the white boys that helped formulate the sound of hip-hop. That shouldn't even need to be stated. Smh.
You're making unnecessary points. No one is talking about proven acts like The Beastie Boys here.
The point I was making was how do you call white rappers "cultural appropriators" when white dudes have been around since the very beginning of hip hop? They were a part of the formation of hip hop as a whole, so there's nothing about their presence that says, to me, they're appropriating the culture. They were b-boys, they were graf aritst, they were dj's they were producers, they were MC's (though admittedly few at first), so how does that work? Are they not entitled to have a claim to hip hop like we do?
Because the people that you're talking about are not like the ones everyone is referring to. They are not one and the same.
People like Alchemist, Harry Fraud, Action Bronson, Em... Yeah, they're entitled to have a claim to hip-hop because they put in the work and are proven. They're not caricatures.
If you wanna tell me that Action Bronson and Post Malone should be categorized the same and should have an equal claim, ? , then I don't know what to tell you. -
Somebody posted this on my Facebook
[img]https://scontent-lga3-1.? .fbcdn.net/v/t1.0-9/23905489_10155085411925823_4371825232072704814_n.jpg?oh=deafbace85e94aeb6a910b092705bcaa&oe=5A8F63DA[/img]
You would think a Hip Hop DJ like Grandmaster Flash, DJ Premier, Kid Capri, Bambaattaa, Jazzy Jeff, etc. would be #1.
I'm pretty sure that DJing culture began with Hip Hop, There were DJs before Herc Flash and Bam but I think Hip Hop DJs raised the bar.
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