Afram DOS is the goat musically

[Hey_zeus]

I see 1st page nikkas changed their tune.

 

[Supper]

They got some thickums in that vid.

Where's my Cowboy hat?



Imma be a Cowboy Zoe.

lol You don't een know the half of it. All of em come out for that shyt.

Best kept secret in the south. Wish more artist from down here would show this part. Seems New Orleans is the only southern city that really markets it's rich traditions and culture to bring in tourist. Which I guess they kinda have to in order to bring in much needed money to their city. Houston was never a city that needed nor took advantage of tourism, especially for music/dance/parades.

But, H-town could be killin' it with the MLK, Juneteeth, and Rodeo trail ridin parades, cause we're really the only BIG city that does it. All of the other cities are lil small towns in the South.

But, the best ones are always in the middle of the hood, and Iono if ppl from out of town wanna come out there just to see a cowboy parade. lol



Charleston, Memphis, Mobile, Houston, the whole MS have black culture and history for days but stay droppin the ball on capitalizing(and not just on a monetary sense) like Not to mention Houston and Memphis have some of the top 5 goat and unique underground hip hop scenes and top 5 recognizable rap sounds to boot................Mannnnnnn

Those kids look so happy...

Yeah, they were definitely fascinated by that show.

 

[Roland Coltrane]

First of all you quoted me in this thread without even knowing what you are writing/talking about. You were so far in the weeds that two other posters had to come in and give you a clue, which should have indicated to you that you were wrong and that you actually knew very little about the slave trade and the people targeted.

Second of all Benin ain't a tribe; it is a damn Country. The Bini/Edo people are from the Kingdom of Benin, but that ain't the modern Country of Benin. So getting a Y DNA result saying Benin is not telling you the tribe, because Benin has a bunch of different other ethnic groups too; including some Mande people.

Third of all you can not take the regions assigned by DNA testing companies as literal, because they don't test in all regions. So if they don't have your exact region then they will assign you to a region that looks the most like your DNA. So you might not actually be from that region if they don't have extensive samples in that area. So you might have just been assigned there as proxy or by default.
AncestryDNA Regions

Finally, fugg you. You are the dumb dikkhead nikka that came in quoting me on some bytch ass dumbshyt, while apparently having zero fugging knowledge that the Sahel extends through Ghana, Togo, Benin and Nigeria, which is where a lot of Mande and other Sahelian people are located. In other words everybody in Ghana, Togo, Benin and Nigeria ain't from the fugging forest belt. You could have at least learned that much, before your dumbass quoted me.

In closing eat a dikk and have a nice day.

chill breh


I was really just looking for clarification

this is what came up when I looked up Sahel

The Sahel part of Africa includes (from west to east) parts of northern Senegal, southern Mauritania, central Mali, northern Burkina Faso, the extreme south of Algeria, Niger, the extreme north of Nigeria, central Chad, central and southern Sudan, the extreme north of South Sudan, Eritrea, Cameroon, Central African Republic and the extreme north of Ethiopia.[4]

that's why I didn't think any of our people came from there


I don't know shyt about the Mande peoples


the Sahel apparently stretches all the way across the continent but I was not accounting for tribes' presence moving and fluctuating in said area



overall, I was in the wrong, and you made me feel stupid and I'm aggy about it

but you still a bytch




as much as it pains me to say this, thanks for the education











I'm gonna reflect on this L now and see if I can salvage the rest of the day


my apologies tho, seriously

 

[Samori Toure]

chill breh


I was really just looking for clarification

this is what came up when I looked up Sahel


that's why I didn't think any of our people came from there


I don't know shyt about the Mande peoples


the Sahel apparently stretches all the way across the continent but I was not accounting for tribes' presence moving and fluctuating in said area



overall, I was in the wrong, and you made me feel stupid and I'm aggy about it

but you still a bytch




as much as it pains me to say this, thanks for the education











I'm gonna reflect on this L now and see if I can salvage the rest of the day


my apologies tho, seriously

Apology accepted.

It is good to learn about the ancestors, because it makes us all stronger.

 

[Indiglow Meta (R$G)]

Was this song, but uno the original video was on its way to a milli views and the faccit met did their handywork and locked it off

Yeah this shyt rockin!

 

[IllmaticDelta]

lol You don't een know the half of it. All of em come out for that shyt.

Best kept secret in the south. Wish more artist from down here would show this part. Seems New Orleans is the only southern city that really markets it's rich traditions and culture to bring in tourist..

mississippi does/has

 

[Bawon Samedi]

BTW @Diasporan Royalty I found yo' kin follk!



Tryna hide'em actin' like you ain't know and shyt. lol Stop play and putcha ten gallon hat on and get down to that family reunion.





^^^dude said they got people from NY show up. Probably in secret Don't wanna get roasted back in the bricks.

And yea I think I heard of something like this. Gonna have to ask my grandfather.

 

[CASHAPP]

the precursor to ella fitzgerald...billie holiday...

yeah i know hazel was born in Trinidad but she grew up in America and culturally the music seemed black american act its core. So yall can sue me but i gotta throw her in here. She feels like she is part of ADOS history to me

 

[Supper]

This- Houston blues


(Fun Fact: This is also a candidate for the first rock n roll song)

+

This- Imported SWLA creole folk music



=

Zydeco music- Born in Houston, TX


^^^This is true Zydeco music. Neither of the first two types of music are, though they are both foundational to the genre.

 

[IllmaticDelta]

^^^This is true Zydeco music. Neither of the first two types of music are, though they are both foundational to the genre.

yup...the older creole lala music is influenced by rural blues while zydeco came out that mix and then got influenced by urban/electric blues and 1940/50's R&B

 

[Supper]

yup...the older creole lala music is influenced by rural blues while zydeco came out that mix and then got influenced by urban/electric blues and 1940/50's R&B

Yep, lala folk music already had both rural gospel/spiritual influences as well as blues influences, no doubt. The even earlier jure music in rural louisiana was based off negro spirituals for black creoles.

Clifton's song is basically in this style with an accordion.


We can do this all day.

This houston blues


and this SWLA la la music


begets this zydeco music in houston.


Saying Zydeco is from Louisiana is like saying Jazz is from MS because Jazz arose from the sounds of blues and blues is from MS or Hip hop is from the south because rapping comes from Southern Jive Talking tradition. What we know as Zydeco today arose in Houston, TX by PEOPLE that were from Louisiana that adapted the creole folk music they knew from back home to the active urban electric blues and rnb scene in Houston which gave rise to a new genre of music.

 

[Roland Coltrane]

1970's is the best era for R&B because it was the culmination of the soul and funk that came before it and Neo Soul was largely based on 70's R&B (mixed with jazz, hiphop and electronica/deep house) of the stevie wonder/donny hathaway/marvin gaye, variety. IMO, what peak, Neo Soul had even over most 70's R&B was that HardBop/Coltraine type Jazz influence. Gil Scot Heron was like the only popular R&B act in the 70's with that feel. The Neo Soul cats picked up heavily on that Gil Scott Heron sound that I dig. Also, many of the Neo Soul acts had vocals stylings that were Jazz + Soul whereas most singers of the 70's didn't have that Jazzy vocal sound (phyllis hyman is a perfect example of jazz stylings) in the mix.

so overall, I would say, peak Neo Soul was just as good and sometimes better than peak 70's R&B

I respectfully disagree breh on your assertion that peak neo soul was just as good and sometimes better than peak 70s rnb

if you look at the small cross section of artists I mentioned, Stevie, Earth Wind and Fire, Bill Withers-those artists at their peak are head and shoulders than even the best neo soul by a long shot. the one caveat in all this is that you have your personal preference and I have mine.

also could you elaborate more on and provide examples of that HardBop/Coltraine type jazz influence that you mentioned?
EDIT-nvm I'm a big fan of Art Blakey(considered by many to be the father of Hard Bop) and his Jazz Messengers projects(Three Blind Mice in particular) is amazing.
I can definitely see elements of Hard Bop in neo soul, especially the way bassist Jymmie Merrit is playing on here


I think if anything the neo soul movement was heavily influenced by Jay Dee, especially when finding a sultry, deep, funky groove or pocket and just vamping and reveling in it.

my bad if this has been posted in this thread already and it may be only tangentially related but I find it pretty interesting in the context of what we're discussing

Why J Dilla May Be Jazz's Latest Great Innovator
February 7, 20134:12 PM ET


GIOVANNI RUSSONELLO

Visionary hip-hop producer J Dilla never found mainstream success during his brief lifetime. But in the seven years since his death, Dilla — who would have turned 39 today — has come to represent a major inflection point on hip-hop's evolutionary tree. At his peak in the late 1990s and early 2000s, he suggested syntheses that hadn't seemed possible. He played fresh games with texture and tone. He recast the sample as a malleable component, rather than the monochromatic backbone it had seemed to be. And he injected a softened, swaggering humanity into the rigid slap of classic hip-hop drumbeats.

His magnum opus, Donuts, was reissued on vinyl last month, and the posthumous Music From the Lost Scrolls Vol. 1 came out on Tuesday — the first in a series of previously unreleased recordings. In Detroit on Saturday, the rapper Talib Kweli, violinist and arranger Miguel Atwood-Ferguson, and a handful of other artists will perform at the second annual Dilla Day, a concert celebrating Dilla's career.

Dilla's reach stretches way beyond hip-hop: For one, he's recently cast a long shadow over contemporary jazz. He never belonged to jazz's inner circle, but since his death in 2006 from a rare blood disease, his legacy has helped pull the genre back into kissing contact with modern popular music.

eager for reinvestment in the discourse of contemporary culture. The shift has roots that run in a lot of directions. It's a reaction to the neo-traditional revivalism that capped the last century, and to jazz's withered commercial infrastructure in the wake of the 1990s CD bubble. Add to that the simple fact that millennial jazz musicians grew up listening mostly to hip-hop, R&B and rock.

The crush of these influences on jazz was a matter of when, not if. But no movement takes hold without a hero, and J Dilla has filled that role. "Pretty much anybody else in hip-hop — from Jay-Z to Kanye [West] — you can tell a musician you don't like them and it'll be like, 'Okay, cool,'" says Kenneth Whalum III, a jazz saxophonist who tours with the R&B singer Maxwell. "If you go into that same setting saying you don't like Dilla, it's not okay for you to be there anymore." He's kidding, but only by half.

A Human Encyclopedia

So what set Dilla apart? Why has his brand of virtuosity proved so captivating to the jazz crowd?

For one, Dilla was a sort of human musical encyclopedia. In his studio, he sorted thousands of vinyl records, many of them jazz, into specific sections and kept them alphabetized so that he could dig up the right sample as soon as inspiration arrived. He didn't just rely on his collection, either. He was always ready to pick up a guitar or a bass, or saddle up behind the drum kit, or hammer out chords on the keyboard.

Dilla would happily wrangle split-second clips from albums just for the timbre of a single note, or the texture of vinyl, or the clack of a snare drum hit. "Every track he did, he had different drum sounds," says Damion Reid, a jazz drummer who grew up listening to hip-hop in the 1990s. "Most producers around that time — like DJ Premier and Diamond D and guys like that — they kind of had a sound. When you heard a beat, you knew it was them because of the drums. [In Dilla's music], I would hear that every sample, every drum, every nuance, every atmospheric sound was strategically placed. Jay Dee embodied, to me, the culmination of all those things."

Herbie Hancock and Tony Williams and Miles [Davis]: He's in the same category to me.

Karriem Riggins

Then there was Dilla's approach to crafting the rhythms of those drumbeats. Many beatmakers use a method known as quantizing, which lets you perfectly subdivide electric drum-machine sounds into positions within a measure. From there, the pattern can repeat indefinitely as a loop. Dilla preferred to play beats on a drum machine by hand in real time. That allowed him to color his creations with a signature rhythmic sway: languorous, leaned back, landing just behind the beat. In some ways, it was a new paradigm for the swing rhythm that had been born in West Africa and grew up with jazz.

"He was one of the first cats that kind of broke down the rigidity and the rules and the boundaries of hip-hop," says DJ HouseShoes, a Detroit producer who worked with Dilla starting in the 1990s. "Hip-hop had a stiff, structured code to it, and that definitely got loosened up after his reign." Dilla's sample choices and drum textures might've been so protean as to be hard to identify, but his proudly laggard strut shines atop his tracks like a personal seal.

The Rise Of A Giant

James Dewitt Yancey was born Feb. 7, 1974, and grew up as the oldest of four children in a household on the east side of Detroit. Both his parents were musicians, and he showed natural prowess early. In high school, he started making hip-hop beats and rapping alongside two classmates, with whom he would go on to form the trio Slum Village. By the mid-1990s, word was traveling about his production chops, and he was collaborating with artists in New York and Los Angeles: The Pharcyde, A Tribe Called Quest, Busta Rhymes.

In 2000, Slum Village released its breakthrough album, Fantastic, Vol. 2. But the year was more notable for the release of two other CDs, both by singers, that Dilla had helped produce: Mama's Gun by Erykah Badu and Voodoo by D'Angelo. Marked by the unhurried, swirling fantasias that were becoming Dilla's stock in trade, these records helped confirm the arrival of a new subgenre. It was vamp-driven, insouciantly seductive, happily lodged between the live sock of classic Motown and the tinkering studio savvy of hip-hop. The music was called neo-soul.

YouTube
Later in the decade, Dilla would release a string of solo albums that stretched his hazy canvases to their fullest breadth — soul vocals and jazz harmony and rattling funk beats sprawled out together in a warm bath. These records, including the classics Welcome 2 Detroit (2001) and Donuts (2006), didn't grab the spotlight, but they laid themselves out for posterity, and upped the ante for all vigilant producers.

"His music had that soulful jazz thing, but it also had a bounce to it," says the rapper Common, a collaborator and close friend. "Somebody could dance to it. I think those records had a huge impact on the way producers thought about music."

Gateway To 'A Spiritual Space'

Just as he helped solidify neo-soul more than a decade ago, Dilla seems to be freeing jazz-trained musicians today to reconsider how their music might sound, and what defines it. Listening to the generation that's come under his influence, you realize that some of jazz's supposed fundamentals interest them deeply. Others, not so much.

The combustion of group interplay, and improvisation that can seem to tug on the boundaries of a band or a song: These things remain exciting. But long, exhaustion-seeking solos pointed at some final emotional summit? Swing rhythm that clangs contentedly on the ride cymbal? Not necessarily.

"At home, I have my Rhodes and drum set set up," jazz pianist Robert Glasper says. When his bandmates come over, "we'll play a Dilla beat for literally an hour, because it feels so good, and that's all that matters to me. I think that's harder [than playing chord changes]. It takes discipline. He's the producer that makes you change the way you play. ... When you just play the beat for what it is, the repetition definitely gets you into a spiritual space."

"I'd rather repeat something for 30 minutes than solo for 30 minutes," Glasper adds. "A lot of jazz musicians don't have that mentality, [but] my band loves to just make beats."

In Glasper's work with his electric band, the Experiment, you can hear this concerted drilling-down, especially on the 2009 album Double Booked. Chris "Daddy" Dave's drums land after the beat with an almost metallic clatter; most of the time, he ignores the ride cymbal. As accompanist, Glasper might hammer a single note on repeat for an entire minute — as if he himself were quantized — or hunker down to work subtle adjustments on a compact chord progression. He has a way of playing chords in swiftly splashing arpeggios so that most of the notes hit barely behind the beat, and the harmonies emerge in a wash of prettiness. It's not unlike the effect Dilla's splices could have on an Isley Brothers sample.

The Legacy Of A Phantom

You can also feel Dilla's impact in the work of ERIMAJ, a band led by drummer and producer Jamire Williams. The influence reaches beyond the laid-back, clunking physique of Williams' drum attack. It's also in his ideal of a pastiche: strings and Rhodes and acoustic bass, and an electric guitar that might have been chopped from a Radiohead track. The band's first album, Conflict of a Man, even includes a cover of Dilla's "Nothing Like This."

Saxophonist Greg Osby was on the front lines of attempting to fuse jazz with hip-hop in the early 1990s, when the idea was still green enough for incredulity and ridicule. Today, jazz musicians don't seek a conscientious merger of genres so much as they use jazz concepts to reassemble the parts that have made hip-hop, R&B and neo-soul so contagious. Jazz training is starting to look like a competitive advantage more than a career roadmap.

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"Jazz was born of a hybrid of folk musics," Osby says. "And for a long time, jazz has gotten away from that. It became so left-brain and strident, its purposefulness has been obscured. Hip-hop, with its loops and its emphasis on the low end, gives a healthy nod to the black mystique and the black struggle in the United States. A lot of intelligent jazz musicians have recognized that as something that they need to reinstate and reintegrate into the output, because it's been lost."

In J Dilla — the musical archivist, the sonic poet, the bass knocker — Osby sees someone who has helped young jazz musicians square their belief in instrumental expressionism with their love for the modern blues music that is hip-hop.

"Dilla, he recognized this," Osby says. "He's kind of like a folk musician, almost like a pied piper, and he's drawing in a lot of people with his assessment of a wider variety of material. Dilla will be like one of those Coltrane figures, where people will be talking about him in a legendary or phantom-like status forever. He was that experimental."