Stop calling my culture "Hip-Hop"

Indiglow Meta (R$G)

Indiglow Meta (R$G)

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Juneya said:
Lol i dunno bruh. I wasnt there.
That aint whay we doing now. So like i said. Yall can have spinning on your head and spray painting walls. Hip hop is new yorks. You got it.

But that aint my culture.
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I'm not from New York.
Atlanta's scene grew off of NYC based Electro-rap...Electro traveled from NYC to Miami and then to Atlanta. Y'all got it last...your scene is based off of that. Later on, memphis rappers brought crunk. Memphis producers chopped breakbeats and samples...the beats were in triple time. Still hip hop based, still NYC influenced. Guess what? Y'all got it later, removed the sampling aspect, and combined the two. Without NYC and Baltimore there would be no Miami "electro bass" and with out "Miami electro bass" there would be no ATL Bass music...Without Memphis Crunk/Horrorcore Tripletime production, there would be no "Crunk" and therefore, trap wouldn't exist.
Even Ghetto Mafia had heavy west coast influences. That dopeman rapping was a california thing.
Didn't a Philly rapper by the name of Schooly D make the first "gangsta rap" record? Doesn't that record have an electronic 808 based drum beat? Isn't that the template soundbed of the south? Isn't that the template rhyme style for a southerner?
Remaking "Gucci Time" (Gucci Mane did that) and "PSK" with synthesizers over and over again.
Sounds like 80s NYC rap to me with the dope references and flashiness...electronic beats.
Welcome to history repeating itself. Your city has never created anything, even within the subgenre. Y'all are worse than cacs with the appropriation...and got the nerve to say "it's not hip hop". It is VERY hip hop...some old shyt made new. That's hip hop. No other genre does that. Y'all recycled some shyt that was already recycled shyt.
 
Juneya

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ODOT META said:
*Worst.
I see how you're trying to kick knowledge and troll at the same time. It's not working at all.
we get it: "we're better than hip hop. we've always been doing this, we don't need to call our natural rhythm and love of poetry hip hop, because we've always been doing the same thing...in the form of griots, toasters, etc."

but no. This current iteration is a unique mutant music. It's wholly electronic. The other artforms weren't. They were based on singing and playing instruments. People fukked around and did spoken word a few times over music, but they weren't aiming for anything with that. That shyt broke off. Pigmeat Markham has no influence on what Royce the 5'9 does today...
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I apolgize. For mispelling the word. I truly could care less if i spell the word right as long as you understand what im telling you. Another example of that willie lynch shyt... You think it matters that you speak the white mans language properly and better than me. Lol.

It being wholly electronic has nothing to do with hip hop. You reaching now.

And pigmeat defitely has influence over what royce does. He is the only reason riyce does what he does. More self hate. Disrespecting and disregarding your history
 
BmoreGorilla

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ODOT META said:
*Worst.
I see how you're trying to kick knowledge and troll at the same time. It's not working at all.
we get it: "we're better than hip hop. we've always been doing this, we don't need to call our natural rhythm and love of poetry hip hop, because we've always been doing the same thing...in the form of griots, toasters, etc."

but no. This current iteration is a unique mutant music. It's wholly electronic. The other artforms weren't. They were based on singing and playing instruments. People fukked around and did spoken word a few times over music, but they weren't aiming for anything with that. That shyt broke off. Pigmeat Markham has no influence on what Royce the 5'9 does today...
Click to expand...
He doesn't get that what makes hip hop unique is that the turntable was used as an instrument
 
Indiglow Meta (R$G)

Indiglow Meta (R$G)

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Juneya said:
I apolgize. For mispelling the word. I truly could care less if i spell the word right as long as you understand what im telling you. Another example of that willie lynch shyt... You think it matters that you speak the white mans language properly and better than me. Lol.

It being wholly electronic has nothing to do with hip hop. You reaching now.

And pigmeat defitely has influence over what royce does. He is the only reason riyce does what he does. More self hate. Disrespecting and disregarding your history
Click to expand...
We're using a text based medium. When you're trying to make a point, typing accurately helps. The deflection of "cac" and "the whiteman's language" lets me know you're in full reach mode right now.
 
Juneya

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ODOT META said:
We're using a text based medium. When you're trying to make a point, typing accurately helps. The deflection of "cac" and "the whiteman's language" lets me know you're in full reach mode right now.
Click to expand...

Not reach mode. That is the point of my many post is that you, and especially you, are too influenced by your white man to even look to learn you own history. You in reach mode bringing up grammer.

Music historians typically divide the history of ska into three periods: the original Jamaican scene of the 1960s (First Wave), the English 2 Tone ska revival of the late 1970s (Second Wave) and the third wave ska movement, which started in the 1980s (Third Wave) and rose to popularity in the US in the 1990s. The recent revival of Jamaican Jazz attempts to bring back the sound of early Jamaican music artists of the late 1950s.

Along with the rise of ska came the popularity of Deejays such as Sir Lord Comic, King Stitt and pioneer Count Matchuki, who began talking stylistically over the rhythms of popular songs at sound systems. In Jamaican music, the Deejay is the one who talks (known elsewhere as the MC) and the selector is the person who chooses the records. The popularity of Deejays as an essential component of the sound system, and created a need for instrumental songs, as well as instrumental versions of popular vocal songs.

In the late 1960s, producers such as King Tubby and Lee Perry began stripping the vocals away from tracks recorded for sound system parties. With the bare beats and bass playing and the lead instruments dropping in and out of the mix, Deejays began toasting, or delivering humorous and often provoking jabs at fellow Deejays and local celebrities. Over time, toasting became an increasingly complex activity, and became as big a draw as the dance beats played behind it.

The basic elements of hip-hop—boasting raps, rival posses, uptown throwdowns, and political commentary—were all present in Trinidadian musicas long ago as the 1800s, though they did not reach the form of commercial recordings until the 1920s and 30s. Calypso—like other forms of music—continued to evolve through the 50s and 60s. When rock steady and reggae bands looked to make their music a form of national and even international Black resistance, they took calypso's example. ROOTS 'n' RAPCalypso itself, like Jamaican music, moved back and forth between the predominance of boasting and toasting songs packed with 'slackness' and sexual innuendo and a more topical, political, 'conscious' style.
 
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