in the early 90's if you weren't street/thug/calling women bytches, you weren't popping -Kid N Play
- Thread starter IllmaticDelta
- Start date
How? Explain who was rewriting the songs for example.
Wear My Dawg's Hat
Superstar
Good book on how the white kids demand for murder, sex and mayhem drove the 90s market.
Are there examples of white people modifying Death Row albums for commercial gain with a white audience?Good book on how the white kids demand for murder, sex and mayhem drove the 90s market.
Art Barr
INVADING SOHH CHAMPION
kid n play went from one of the best videos ever.
to making....
feel the groove...like this y'all like that y'all..
complete 180 in direction on funhouse from last night and 2 hype the album not the album cut.
if they would have stayed where 2 hype the album was, and just had movies.
they would have lasted rather easily.
instead they went full movie soundtrack pop direction wise on their whole actual project and direction as a whole.
nikkaz went from this:
which was the sweet spot of how good they were.
instead of blatant commercial songs, where they could not tailor back the ol school pop attempt commercialism.
similar to songs like the album titled 2hype.
in favor of getting material in which they got songs like this right.
which was more from carryover from salt n pepa female ghostwritten direction and ol school base.
mixed with dc's eu's direction coupled with spike lee's school daze era to act as a buffer.
instead they platooned themselve into this.
while completely missing the flavor that digital offered in the same type of cameo vid for:
do what cha like as a litmus test to see where to go.
instead they choose to continue the pop meets movie house ideal.
that had been exposed as poisonous if not done right as early as:
that also had been expressed from as early as the end sequence in beat street being to pop oriented.
plus, the dialogue and content featured in break'n that illustrated the ideals of classically trained arenas seizing control of hiphop.
when originally it disrespected and had no place for hiphop.
other than coping and blowing to misappropiate it.
of which kid n play picked right back up on from the missteps of the film deviation from fastforward and rappin.
totally missing out on the good that was supplied in beat street and the cultural more and norm lesson featured in break'n.
kid n play try to act as victims of the prison industrial economy.
yet they were prisoners of themselves and their own direction not pulling in the reins when they went to pop and ruined themselves internally.
art barr
BmoreGorilla
Veteran
Kid N Play were basically from another era. They fell off because hip hop moved on from party rhymes. People tend to forget that there was a clear regional divide in hip hop at the time. Anything considered Gangsta rap was west coast shyt. They were the main ones calling women bytches and causing controversy. NY in the early 90s was all over the place tho
Wear My Dawg's Hat
Superstar
Why would white people have to modify Death Row albums?
If black record execs in 1992 like Andre Harrell and Jheryl Busby were saying that they didn't want to be responsible for distributing NWA/Death Row-like material, but white execs Jimmy Iovine, Jerry Heller and Bryan Turner wanted to appeal to the white kids consumer base who enjoyed black murder, sex, mayhem music and videos, why would the white guys have to
modify anything?
Help me understand your question?
let me as a 40 something year old who actually worked in radio ...an AM radio station to be exact during that time to put this into perspective....
shoutout to the baddest program director of all time Ronald "Fly"
@hustlemania SPEAKS FACTS ....if you weren't present in that era (early 90s) to able to witness as well as participate in hip hop
you SHOULD BE VERY QUIET.......
none of these video documentaries or wikpedia summaries can actually depict what was going on back then....
hip hop wasn't even seen as a GENRE as evident in the grammys refusing to broadcast the rap catergories on tv which was protested by will smith and moe dee and a host of others...who chose to boycott by not showing up at all
can't buy into these "perspectives"
especially when they are coming from biased sources
the "unsung testimony" of Kid N Play only tells half the story.....
yes I do agree that their was some poloarization occurring once Gangsta Rap started making it's presence felt in the early 90s
because artists such as Heavy D....Salt n Pepa...Will Smith and Kid N Play were labeled as "happy rap" by the media
but their is no excuse as to why KID N PLAY couldn't have succeeded other than the fact that they didn't make timeless records
Heavy d. had radio staples like "we got our own thing" and "i got nothing but love for ya"...salt n pepa is known for "push it and "shoop"
will smith got a plethora of big hits going back to this days in the 80s with parents just don't understand which went big on the pop charts
KID N PLAY just fell shor of the mark ....
I know this cause I worked directly with radio programming at the AM radio station back in the day .....
and unlike other "happy rappers" whom were charting like Hammer.....kid n play didn't register high on the bds spins inspite of the fact they had a visible brand with a hit movie and kid's trademark look......
even at their height they usually only got played on the mix shows late at night like the one I deejayed on
the problem wasn't so much street music suppressing kid n play....
the problem was KID N PLAY's camp didn't know how to capitalize off of them....hurby luv bug initially tried to market them as a male version of SALT N PEPA which was a gimmick in itself...the 90s was transitioning into care er minded artists who could last....
back then the 90s were sooo good cause STREET RAP could coexist with HAPPY RAP...
guys like chuck chillout and myself would play a ABOVE THE LAW RECORD or MOB STYLE RECORD along with a LATIFAH or SKEE LO record or HAMMER.....
THERE WAS BALANCE!!
SAME THING WITH KID N PLAY I remember first hearing kid n play single following a hardcore PUBLIC ENEMY single and followed up with a hardcore ULTRAMAGANETIC MCEES single on kiss fm new york
kid n play was never meant to last.......their was no growth and development
The problem I got is when you say the media labeled it ''happy rap'' ,how would the mainstream white American media label it happy rap when they didn't even take rap as a genre seriously or even have it as a category at the Grammy's?
The streets labeled groups like Kid N Play happy go lucky rap.But they actually had a better edge because they were more party oriented rap then the conscious kind of rap.
The reality is ,yes; some groups like Brand Nubian, A Tribe Called Quest, Leaders of The New School,Das Efx were popular non-gangsta rap acts, but the fact is gangsta rap was far more popular because for many people on the streets they related to it more and tpp many people saw conscious rap as soft.Whether its right or wrong its reality.
I took your earlier posts to suggest that hip hop music was being changed by white people so that it would be more palatable to white kids. As if The Chronic was initially on a PE vibe but then the execs made Dre go back and rewrite/rerecord the album because the content wasn't appealing enough to white kids.
So I asked some questions to flesh out whether that's what you were actually saying. I see now that its not.
I'm with you on the idea that the labels started pushing gangsta rap.
But I get skittish when people start to suggest that classic Death Row albums weren't the albums that Dre/Snoop/Pac wanted to make.
I also take issue if you're suggesting that Death Row was only popular with white kids.
I swear about 70% of y'all dudes are ignoring the EARLY 90's part of the thread title...this criticism by Kwame was not about the whole 90's
Bro....my mama loved that wild Wild West song and soundtrack ....I hate when cats refuse to be wrong
So will smith is refusing to be wrong?
He's the one that said black radio stopped playing his music in 1991
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Art Barr
INVADING SOHH CHAMPION
your principals are wrong that you listed here.
as ted demme was culturally based as were the creators of the source.
as both entities they created were fine till the execs, sellout power hungry wack street dude who could rap.
or some higher up commercial based brass seized control and funnelled it into commercialism.
the change of hot 97, and interscope fall into the further push and creation of the prison industrial economy base for iovine.
while the change of the mecca occurred from the playlist of hot 97 succumbing to the new format for bds and being a prisoner to commercialism and the prison industrial context.
as non-cultural based rap in the mecca soon found its way as a gateway into ny airwaves, and also hurt hiphop and eventually the mecca as well.
so, even the images posted here on tell of the half truth and not the whole.
to even place ted demme and the original source people here with the hot 97 guy and iovine is completely in cultural error.
it is like mixing the good guys with the bad guys and demme and the source were the very few cultural white good guys.
as yo did not deviate till demme's death. as yo was completely a demme based ideal, till it was corporately seized internally in admin and execution after demme's death.
the source faltered when they sold mics and also reprocessed the mic rating for the prison industrial economy.
culminating in the day when ice cube sold out on the same day as the source when west side connection was reviewed.
which splintered the source from the originators fleeing to become XXL, and the source to fall by the wayside. till revision of the source was made to the new pop crowd to appear like the hiphop cultural bible it used to be. before wsc's and ice cube sellout the mecca situation ruined the entire source setup.
art barr
Good book on how the white kids demand for murder, sex and mayhem drove the 90s market.
I remember seeing this book but I never picked it up
Back in the day I remember our white classmates clowning hip hop, "yo yo yo!! AAAAIIIGHT!!" fukking with us, and also VH1 not playing the rap part of Paula Abdul's song with the cartoon cat
Hip hop use to get shyt on, it wasn't "pop" enough I guess...but when Snoop/Dre came out it was like all that shyt slowly changed
And I do think there is a "trip to the zoo" element of it, white kids from mainstream America are drawn to the hood stereotypes, like an escape from their boring hallmark channel lives
IllmaticDelta
Veteran
lol....you're not gonna find it because it never happened. Death row is/was a "black" creation based around what Dre already learned about the market from his NWA days. Remember, Gangsta rap as conceived by NWA was originally and only meant for their "hood". Noone knew it was going to crossover into white america
Art Barr
INVADING SOHH CHAMPION
conscious rap, and the daisy age were melded together because of how popular the change in direction and image of dela was on the smash me myself and I.
which created the fake rap ideal marketing of happy rap, and things went awry.
the media latched onto dela soul but dela rebeled by killing the daisy age on their second album.
as the content and direction from three feat high and the daisy age, was killed off on dela is dead.
as dela killed what they were cause the media took their vibe and tried to make the daisy age into what they wanted and not what the daisy age was.
dela is kinda the litmus test of what to do as a commercial artist.
when, you are so popular that the media and whomever will try to take what you supply and make it into their agenda.
art barr
most of the rap today is a deviation of where the media tried to hijack dela and missed the beat to how groups like van full of packistans and the makers of blue cheese never permeated and also were dissed initially and culturally as well.
even yaggfu front originally fell into this but were such a great group they came out of it via slow burn.
yet, they also feel out in their followup as they were thought to have sold out and went to dark and street on their follow up as well.
yet, groups like trendz of culture who were much better at mixing the culture and the direction seen in the native, black national and hiphop cultural based medium were able to figure out in the same time.
which let other groups in the mid nineties like boogie monsters were able to draw as well.
while a group who was based in fakkitry like pm dawn were not allowed to draw culturally.
[maybe krs threw pm dawn off the stage cause it reminded him of africka bambatta's fakkit side he knew about. i dunno, all i know is krs better diss that fakkit before we die. or i may diss krs in an actual record, to take leadership of this shyt for myself on some transformer matrix shyt.]