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zairene · 9 months

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in sync, hobie brown x rock angel! roxxi-coded! black fem reader hcs

warnings: fluffy kinda, but none

author’s note: congrats on 3k juice !!! ilysm and u so so so deserve it <3 original event post here / creator: @mypimpademia

you and hobie are the ultimate rockstar couple.

it seemed to be a match made in heaven when you both clicked instantly, with the same passion for creating music and touring the world. it wasn’t hard talking music with him since both of your music taste was drastically similar. with both of you loving rock, you both always had new recommendations for each other.

and because of your broad taste of music, you’re always recommending him new songs that weren’t particularly rock. it could be 90s gangsta rap, r&b, neo-soul, just really anything. you weren’t afraid to try new things so maybe hobie could too!

he still has a keen ear for music. so due to how close you both are and how close he is with the group because of you, he’s often at rehearsals with you guys, helping with things you guys could make better but if you ask him, he just there to see his girl in action.

hobie never misses your concerts. like ever. the only way he’d miss it is if he had some big emergency that he couldn’t possibly pass up but not much is more important than you. you always find yourself sneaking him backstage passes as well, not because he asked but why not for your biggest supporter ever?

regarding being your biggest supporter, he always reposts things on his instagram story about your band—always congratulating you on new collaborations or award nominations. he’s always ready to talk about people needing to buy new tickets for your upcoming shows.

hobie is always in your dressing room and just won’t get out when he’s supposed to. at first, you just let him in for some quality time because that’s honestly rare when it’s the touring season for the band. however, once it’s time for him to get out, he’s making excuses for him to stay. “y’know what. ‘m not even ‘ere.” “hobie, get out!”

and when it’s time for you to go onstage, he’s checking you for any type of thing that looks out of place. fluffing whatever hairstyle you have in, making sure you look ready for the lights that’ll be shining on you for the next 10-15 minutes. and before you go, he never fails to give you a kiss and a smack on the ass for “extra good luck,” in his words, i may add. but you loved him either way so maybe you allowed it even though you would yell at him for it. he always laugh because he knew that you weren’t serious and that was just a way of you being flustered.

arguments and conversations with him were never a common thing. if it was anything about the band and your music, you always put that before your relationship because it was your passion. but that didn’t mean your relationship problems didn’t interfere sometimes and it led you to take breaks to talk things out with him because you were never one to yell or get angry with him. you thought that problems could be conquered with a heart-to-heart conversation, and that applied especially to you and him.

putting the band over him was never a personal thing with him because he knew how much you valued your friendships and music. he just was aware that if he did anything wrong to the point where it would lead to your breakup—you would never stop making music with the girls. and that’s what he loved about you, you never let things hinder your success. fortunately, things have never gotten to that level and you’ll always know that hobie will be there with you every step of the way.

#[♩] irene’s works.#mparockangelz #spiderman atsv fanfiction #spiderman atsv #spiderman atsv x reader #spiderman atsv x black reader #spiderman atsv x black fem reader #hobie brown fanfiction #hobie brown x reader #hobie brown x black reader #hobie brown x black fem reader

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militantinremission · 9 months

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HipHop's 50th Anniversary: What 'Culture' are We talking about?

I was in Elementary School back on Aug. 11th 1973. My family left the West Bronx, but I spent a lot of time w/ my 'big cousins' in the Harlem River Houses. My cousin Mona babysat my brother & I, taking Us everywhere w/ her; including dates. I remember Mona taking Us to 'The Summer Of Soul Concert' in Harlem, & I remember going to a few of those Park Jams in Bronxdale & in Soundview. I think We saw more of King Mario than Kool Herc & Coke La Rock. My oldest brother formally introduced me to HipHop in the Spring of 1977. I remember coming home from School to find his Crew set up in Our Dining Room.

I got my 1st look from the 'Other Side of The Rope', & I was hooked! I wasn't a Rapper (yet), or a Break Dancer, but I had an ear for music. Like a lot of Old School Deejays (& under My brother's tutelage) I cut My teeth on Component Sets & BSR Turntables; rocking Line In switches b4 getting a [real] Mixer... I bought My own DJ Set in 1984 (B2s), & mastered my Craft as a Street DJ, & later in a few NYC Clubs. Most DJs are disciples of [Grand Master] Flash or [Grand Wizard] Theodore; I was more of a disciple of Jazzy Jay & Cut Master DC. We All have Our Unique Features, but EVERYONE went back to School when Jazzy Jeff introduced the 'Transformer Cut', back in 1986. Like a lot of DJs disenchanted w/ 'Gangsta Rap', I split time w/ HipHop's Twin Sister- House Music.

I say all of this, to qualify myself as a 'bonafide Shorty' of 1st Generation HipHop, & a full fledged Member of The New School Era. My point, is to say that 'In The Beginning', there was just The Culture. It didn't have a formal name- but it was being done ALL OVER NYC. I associate the '1520 Sedgwick Avenue' Story of HipHop w/ Afrika Bambaataa; he's The First Person that I remember telling this Story. Disco King Mario predated Kool Herc by years. Herc copied Mario's Style- down to his equipment! King Mario wasn't alone, Pete 'DJ' Jones & Frankie Crocker were dueling On The Radio (WWRL vs WBLS), while DJ Flowers, DJ Spotlight, DJ Smokey, DJ Hollywood, & a number of Club DJs were also mixing it up.

A major argument is whether Disco is connected to HipHop. The Cats up in The Bronx say HELL NO, while the rest of NYC says HELL YES! People need to understand that when We talk about 'Disco', we don't mean 'The Sound' or Studio 54; We mean 'The Disco Fever', 'Harlem World', 'Sugar Hill', & 'The Factory'. The DJs that spun @ these Clubs molded the format that HipHop DJs still follow Today. Kool Herc is credited w/ The 'Merry Go Round'- his mix of Break Beats, but he wasn't the only DJ mixing Breaks or James Brown songs. The Black Spades that were interviewed, speak on King Mario spinning 'Soul Power' & how they chanted 'Spade Power'- as early as 1971. This creates a schism between Bronxdale & Soundview.

Black Americans say HipHop started in Bronxdale, as late as 1971. West Indians- Jamaican- Americans in particular, say it started on Aug. 11th, 1973. Puerto Ricans [Nuyoricans/ Puerto Rocks] say it started between 1975 & 1977, when Afrika Bambaataa incorporated Latino Breakers into 'his' HipHop scene. While there is debate over When & Where in The Bronx it started, EVERYONE AGREES that HipHop was created to Stop Gang Violence. The Culture involves individual expression through Graffiti, B- Boy Style of Dress, & Dance, Spoken Word, & the ability to keep The Party going non-stop. The Original Gangs splintered into Crews that now 'battled' each other w/ Turntables & Mics, on the Dance floor, & w/ Spray Paint Cans (Bombing).

The vernacular of HipHop is based in The Nation Of Islam & The Nation of Gods & Earths, so it's big on Black Power, Black Excellence, & The Traditional Black Family. Both Organizations are Pan Afrikan in their Philosophy, so The Black Diaspora is represented. The same is true w/ The Zulu Nation. Before the rise of The Nation of Latin Kings & Queens, you would find Latino Zulu Kings & Queens- it was All Love! Afrika Bambaataa coined HipHop's 'Mission Statement' of: "Peace, Unity, Love, & Having Fun!", in a song w/ James Brown by the same Name. He also defined the existing '5 Elements' as the fundamentals of HipHop Culture. The Zulu Nation were the unofficial Ambassadors of HipHop; first taking it Downtown, & later taking it Globally... No One questioned Bambaataa's actions.

As We celebrate 50Yrs of HipHop, Afrika Bambaataa's Legacy is tarnished @ best. He has been Radio Silent, since allegations of Child Molestation rose against him 7Yrs ago. Every Move that Bambaataa made is being questioned- Was it a good move for HipHop to go Downtown to SoHo? Did it open the door to the current 'isms' that plague The Culture? It was a Black Specific art form, but it opened itself up to integration w/ Sexual Deviants, Drug Abusers, & White Record Executives. In retrospect, We can see what lured Bam Downtown. I'm curious- is the current manifestation of 'The Culture' Bambaataa's intended goal? It goes against his language, but it's in line w/ his actions.

In the wake of Afrika Bambaataa's 'Fall from Grace', people began questioning his narrative of HipHop. Original B- Boys are still walking The Streets, so it wasn't hard to fact check. DJ Phase has spoke on many Youtube videos under 'The Culture', where he breaks down the Foundation of what became HipHop. According to DJ Phase, HipHop was born on June 7th, 1971- in the Bronxdale Houses. He said that it wasn't organized; Mario simply set up on the grass & spun records. Later that Summer, in July- DJ Phase said that they were more organized w/ more sound & records, so THAT was when Brothers got serious about what they were doing. Disco King Mario did a series of Jams that culminated in the legendary 'Rosedale Park' Jam, that lit up The Bronx & inspired future pioneers.

There is a lot of controversy today concerning the Origins of HipHop. Jason Black, of 'The Black Authority' had the best comment on the subject: "Success has many Fathers, but Failure is an Orphan". As We question the running narrative of HipHop's birth, We also have to question WHO gets Credit for WHAT. No One questions the contributions of Jamaicans, Puerto Ricans, Cubans, Haitians, & Panamanians to The Culture, but the claims being made by Busta Rhymes, Pete Rock, Fat Joe, & John Leguizamo are disrespectful. Busta & Pete Rock assert that Jamaican Culture DIRECTLY INFLUENCED HipHop; Busta says 90%. He goes on to say that Kool Herc brought Jamaican 'Toasting' or 'Ranking' to the Bronx Youth. Fat Joe & John Leguizamo say Puerto Rico contributed 50% to The Culture... They ALL sound ridiculous.

In an effort to get ahead of King Mario predating Kool Herc, people have gone as far as saying that Disco King Mario is [half] Puerto Rican. When it was proven that Mario came from North Carolina, a Story came out that his family migrated to (Jim Crow) North Carolina back in 1912. Mario's Sister says they aren't Puerto Rican- They're North Carolinian & 'Country'... His Mother just liked the name Mario. This effort to remove Black Americans from a Black American genre is confusing. Making a contribution 'to', or an innovation 'of' something, doesn't make one 'The Originator' of it. DJ Phase made a point to elaborate on The Energy behind HipHop, & what inspired it. Our Family from The Diaspora mostly arrived after The Civil Rights Movement; They really don't know what AmeriKKKa was like before 1970.

Contrary to what Busta Rhymes, Pete Rock, or Fat Joe may say, HipHop begins w/ The Black Spades. As a boy in Harlem, I remember how revered The Black Spades were. They were respected, but I didn't understand why... Before The Black Spades, Blackfolk in The Bronx were being victimized by Whitefolk; 'Authur Avenue' Italians, in particular. According to The Black Spades, they couldn't go ANYWHERE w/o being attacked, so they organized & struck back. The Black Spades- essentially Black Teens, didn't just beat those Racists back; they opened up The Bronx for EVERY Black Person, giving them The Right of Autonomy. That Energy or Spirit of Revolution was celebrated in Song & Dance, & King Mario was The Conductor.

Kool Herc got to see King Mario & The Black Spades @ 'The Tunnel'. He heard the Breaks & saw how the Black Spades reacted... He heard 'Spade Power!'. Herc himself said that he analyzed what 'they were doing' & came up w/ The Merry Go Round. That, is an innovation. Herc never said that he introduced Toasting to those Baby Spades; in fact, Herc admitted trying to play Jamaican Music, but The Crowd didn't take to it. If Busta & Pete Rock were right, We should have some Reggae among familiar Beat Beats. All of these Cats talk about 'Culture', but they just sound ignorant. A 'Culture' is defined as: 'The sum total of Social Life'. If West Indian (i.e. Jamaican) and/or Latinx (i.e. Puerto Rican) Culture plays such a major role in HipHop, why did ALL of them adopt Black American Social Mores? Kool Herc admitted that he was clowned when he arrived in The Bronx; he thought Cowboy Boots were cool.

If we're going to run w/ the: 'Kool Herc is The Father of HipHop' Story, Coke La Rock should @ least be mentioned. He is credited w/ being The First Emcee. He was Herc's Partner. Busta & a literal Legion of Yardies want to coronate Herc as 'King of HipHop', but it was Coke La Rock that transformed 'Clive' into 'Kool Herc'. Clive DIDN'T KNOW THE CULTURE. Coke La Rock took him down to 125th Street, showed him what to buy, & how to sport it. Somehow, Coke La Rock was written out of the narrative. Again, Bambaataa started this. Another issue w/ Herc being hailed as 'The Father' of HipHop, is how easily he Bowed Down to U- Roy. Herc referred to him as 'his King'. Big Respect to U- Roy, I- Roy & ALL the Pioneers of Ska, Reggae, Lover's Rock, Dub Poetry, & Dancehall! That said, Black Americans BOW TO NO ONE! This is a Problem.

When We talk about Culture, HipHop embodies The Spirit of Revolution. Lay it out on the Black American Timeline, & it's a natural transition; from Work Songs, to Ragtime, to Jazz, to Rhythm & Blues, to Soul & Funk, to HipHop. It's the tireless spirit of Black Liberation in AmeriKKKa. Where does Jamaican or Puerto Rican 'Culture' fit in? They were 'Lovers, not Fighters'. We were Angry! What were they angry about? They were in America- Everything was 'Irie'! When DJ Phase was asked about this [Kool Herc] narrative, he cut to The Chase & said that this narrative gives Whitefolk a 'lane of claim' to Our Culture. It was Too Black, Too Strong, but it's been watered down. When We raise Our Heads, We will see that the people claiming ownership of Our Culture, are the same people representing Us in Government. They are the ones allowing Benign Neglect to continue. They also represent Us 'On Screen', but they rarely depict Us in a dignified manner; We're either Ghetto, or Cowards.

While We're on the subject of 'Culture', let's point out how the level of deviance & violence has risen w/ the number of Jamaican & Puerto Rican Rappers. Boogie Down Productions gets Full Credit for setting off the 9mm talk. Just- Ice's 'The Original Gangster of Hip Hop' was just plain Raw... Also, B- Girls didn't dress like or behave like Dancehall Girls; compare Shante, Lyte, & Latifah to Lil Kim, Nikki Minaj, & Cardi B. White Record Executives, like Lyor Cohen, have rerouted HipHop's 'messaging' to target Suburban Whitefolk eager to hear about 'Ghetto Life'. Today's Artists have been set up lovely by those who came before them, but I wonder if the New Jacks know The History? Do they know what it took for Us to maintain this? Cats had to show restraint, because Authorities were just waiting for Us to mess up. U can literally count the # of times U heard the N- Word b4 NWA... Do they know Themfolks tried to shut Us down in 1882; leading to the 'New School/ Hardcore Era' that started in 1983 w/ T- La Rock & Jazzy Jay, Run-DMC, & LL Cool J?

Truth be told, The Park Jams faded out by 1986- 1987. The Crack Wars began to make large gatherings dangerous. The 1st Crack Dealers (in My Hood) were The Dreads, who sold out of Weed Spots. The 'Rude Boys' weren't concerned w/ 'protocol', so things got Hot pretty quickly.... I understand that there is an effort to make HipHop EVERYONE'S genre, but it isn't; not anymore than Motown or Bebop. The World is welcome to enjoy HipHop, but make No Mistake- it's a Black American genre that just happens to be globally appreciated & adopted by many. That said, notions of people like Kool Herc, or Eminem being the 'Father' or 'King' diminish the effect that those 'Baby Spades' had on The Original Concept. We can appreciate their contributions, but HipHop Culture is bigger than them. It has a purpose, & it's NOT making Non Indigenous Blackfolk wealthy.

It was a youthful expression of Black Power & Creativity, but outside forces have turned it into a Golden Goose that only benefits White Record Execs & their Proxies. We treated Her like a Debutant, but She has been reduced to a Crack Whore that EVERYONE can get a piece of. Young Family has to go back to The Root. A Race War is looming, & i'm not sure that their music is up to task. Most of today's Artists are more concerned w/ their 30 pieces of silver, than The Culture it represents. Cats like Busta & Fat Joe aren't concerned, they're taking the money & running. Fat Joe wasn't even a Rapper back in The Day, he was a Stick up Kid; so he's always been about the 'Vic'. Big Pun on the other hand, was The Real Deal... HipHop has become symbolic of Black American Courtesy- We say: "have some", & Our 'guest' proceeds to help themselves to Everything. NO ONE is allowed to be more than a guest in the genres of Jamaican & Latinx Music, so why do they expect ownership in Black American Music?

When We talk about HipHop Culture, We need to remove All the noise in The Room. ANYONE making a claim to Our Culture should be Checked quickly. This 'Back to School Party' Story doesn't make sense! It's supposed to be inspirational, but it's narrated like just another Party. What's so special about it? What exactly motivated Herc's Sister to have this Party, several weeks before School started? How does this 'Party' spark a Movement? Compare it w/ HipHop being a Celebration of Black Youth in The Bronx [dramatically] winning their fight against White Supremacy & their Right of Autonomy- An UNAPOLOGETIC DISPLAY of Black Power. There was a REASON why NYPD left Mario & the Black Spades Deejays alone. When they were 'Jamming', The Black Spades weren't beating down White Racists... No disrespect, but Immigrant Family weren't Here, so they don't know what sparked this Movement.

The Original Concept of HipHop is rooted in stopping Gang Violence. It was a creative alternative to the death & destruction that We brought on each other. The current version of it is so far removed, it's almost unrecognizable. Today's manifestation is literally a Death Cult that offers little to no benefit to The Artist. White Executives seem convinced that it's only about Beats & Rhymes, but the Crap being presented is vulgar & cookie cutter; which defies HipHop's demand for Originality. After 50+Yrs, it's apparent that HipHop is best represented when it's Culturally connected to the Experience of Black American Life. EVERYONE ELSE is a House Guest & should behave accordingly.

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goodwriterwithbadhabits · 1 year

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TXT Play List

AKA Songs that remind me of the members and why. (GIF credit to the original owners)

Master List

Soobin: Angel Baby- Troy Sivan

Angel Baby is about finding a lover who makes you feel whole, a sentiment I feel resonates with Soobin. Troy Sivan’s voice is gentle throughout the song, which combined with a gentle melody and sweet lyrics, is very reminiscent of Soobin’s overall demeanor. Soobin gives off very innocent, almost demure vibes, despite his large stature and deep voice. Also he gives me butterflies the same way this song does.

Yeonjun: Starboy- The Weekend

Starboy is a song about confidence. Its sexy and unapologetic, and if that isn’t Yeonjun, I don’t know what is. Yeonjun oozes a similar confidence to the message of the song, and ever since I saw an edit of him to this song, complete with him singing along at one point, I haven’t been able to not think about him while listening to it.

Beomgyu: Gangsta Sexy- Hollywood Undead

Okay hear me out: Gangsta Sexy is a perfect mix of weird as shit, and overly confident, like Beomgyu. It masks an underlying sense of insecurity by overhyping the subject (the singers) while still displaying an overwhelming level of talent. The raps are unique and skilled, even if about stupid shit like drinking and getting laid, and the vocals in the chorus are rather pretty.

Taehyun: Maniac- Conan Gray

In all honestly, Taehyun is a hard read for me. He’s strange, like the rest of the group, but has a sense of mystery about him. His overall presence reminds me of Conan Gray’s voice, this mysterious, beautiful thing that lulls you in. The song itself is about a clearly toxic relationship, but remains upbeat and fun, with interesting changes between the pre-chorus, chorus, and verses.

Hyuka: Beautiful People- Ed Sheeran and Khalid

No doubt this song is beautiful, its meshing of Ed and Khalid’s voices is perfect, and gives the song and almost regal sound. The subject matter is the change people go through when they become “beautiful” and how that impacts true relationships. Hyuka feels like someone who, despite the fame and money he now has, is still just some guy. He’s down to earth, and aware of himself, without ever feeling stuck up or changed because of who he now is.

Let me know what you guys think! Do you agree with me or are there any songs that you associate the boys with?

#txt imagines #txt #txt yeonjun #choi yeonjun #hueningkai #hyuka #choi soobin #txt soobin #beomgyu #txt beomgyu #txt taehyun #txt headcanons #txt reactions #goodwriterwithbadhabits

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k-i-l-l-e-r-b-e-e-6-9 · 2 years

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Motherfuck Dre Motherfuck Snoop Motherfuck Death Row Yo, and here comes my left blow 'cuz i'm the E-A-Z-Y-E, and this is the season to let the Real motherfuckin G's in, ya like a kid ya....

𝕰𝖆𝖟𝖞-𝕰 - 𝕽𝖊𝖆𝖑 𝕸𝖚𝖙𝖍𝖆𝖕𝖍𝖚𝖈𝖐𝖐𝖎𝖓 𝕲'𝖘

#Eazy-E #Real Muthaphuckkin G's #It's On (Dr. Dre) 187um Killa #1993 #90's #90s #O.G #original gangsta rap #OG #G-funk #oldschool hip hop #classic hip hop #N.W.A.#Low rider #GTA vibes #Gangsta rap #Grand Theft Auto: San Andreas #Ryder

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cultlifecollective-blog · 4 months

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THE COME UP WAS WAY TOO COURAGEOUS

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kickmag · 2 months

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R.I.P. Bo$$

Detroit rapper Bo$$ has died at age 54. Bo$$ was the first woman to be signed to Def Jam West. DJ Quik discovered her after she relocated to Los Angeles after high school and put her on "Mai Sista Izza Bitch" with AMG. Russell Simmons heard the song and signed Bo$$ to a deal with Def Jam West. Her 1993 debut album Born Gangstaz produced two number-one rap hits "Deeper" and "Recipe Of A Hoe." Bo$$ had the image of a rough street dweller but her album's intro revealed her middle-class origins that included a Catholic School education, ballet, and piano classes. In 1993, there were no other women rappers posing with guns and wearing straitjackets in their videos. Simmons and his marketing team had crafted Bo$$ into the first woman gangsta rapper. Fans did not care that the image was false because Bo$$'s rap skills and charisma in front of the camera sold the show. AMG, MC Serch, Jam Master Jay, and Erick Sermon were amongst the producers who made Born Gangstaz a classic. DJ Premier posted to Instagram to give his condolences and he revealed that they did a remix of "Deeper" that was never released.

She relocated to Houston, Texas in the mid '90s to work with rapper Ricardo Royal aka Coco Budda and they had a personal relationship that produced a son. Def Jam rejected the demos she recorded and dropped her from the label. She spent the rest of the '90s working as a radio DJ with a hip-hop show on KKDA-FM. By the end of the '90s she was battling kidney failure and her relationship with Royal ended. In 2001, she worked on Krayzie Bone's Thug On Da Line album. She released her Six Million Dollar mixtape in 2004. Her health issues escalated in 2011 and she reached out to the Facebook community for a kidney donor. In 2017, she had a stroke and by 2021 a GoFundMe was created to help pay for a medical procedure. The fundraiser surpassed the $15,000 goal. Bun B posted about Bo$$'s passing on his Instagram page and Jermaine Dupri, 9th Wonder, The D.O.C., Mia X, Chuck D, and Slim Thug left comments. Any woman rapper who has rapped about the violent aspects of streetlife has some kind of direct or indirect link back to Bo$$.

youtube

#bo$$#def jam #gangsta rap #detroit #Youtube

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randomvarious · 8 months

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youtube

Warren G feat. Nate Dogg - "Regulate" 1994 Hip Hop / G-Funk / Gangsta Rap / R&B

This was such a momentous debut single from Warren G that served as America's top rap tune during the summer of 1994, and the video was put into heavy rotation on MTV too. The song was originally released as part of the soundtrack to the film Above the Rim, which co-starred 2Pac, and that's why you see him also briefly appear in the video a few times as well.

As a smooth west coast hood tale that was based on real-life events, "Regulate" debuted at #2 on the Billboard Hot 100, has now gone double-platinum in the US, and for a label that had been, up until that point, known mostly as a New York entity, became Def Jam's biggest ever single too. The song also helped Warren's debut album, Regulate... G Funk Era, go triple-platinum in the States, and it also reached #2 on the Billboard 200 album chart as well.

Warren, who not only raps on "Regulate," but produced it too, liberally samples Michael McDonald's 1982 blue-eyed yacht-soul classic, "I Keep Forgettin'," and there's a fantastic version of "Regulate" called the "Jammin' Mix" that manages to seamlessly incorporate some of McDonald's and his sister Maureen's vocals from "I Keep Forgettin'" as the chorus. I actually slightly prefer that version to the original, but you also do happen to get a little bit less of Nate Dogg's vocals with it too 😕.

And the iconic whistling portions are lifted from Bob James' 1981 song, "Sign of the Times." Warren slows that whistle down, and along with the introductory dialogue from the 1988 film Young Guns, manages to evoke a Wild West vibe, appearing to draw a parallel between his own modern day-in-the-life story about his friend Nate rescuing him from a robbery, and then them getting some girls for the night, to that of a cowboy's tale that could have taken place in the same region over a century ago.

Legendary west coast rap classic.

Check out this playlist here for more great videos.

#hip hop #old school hip hop #rap #old school rap #g-funk #g funk #gangsta rap #r&b #r & b #Youtube

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gerogerigaogaigar · 11 months

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Boogie Down Productions - Criminal Minded

The story of Boogie Down Productions is necessarily a two part story. I'm not sure if the follow up album By All Means Necessary is on this list. It should be. In 1987 only a few months after releasing this album DJ Scott La Rock was killed in a shooting while trying to break up a fight. Criminal Minded is typically seen as the first gangsta rap album. It introduced the exaggerated kayfabe of kids with guns shooting each other over Petty squabbles over which borough is best. BDPs second album By All Means Necessary is a stark stripped down album with serious lyrics about inner city violence and other socially conscious themes. Scott La Rock's fingerprints are all over both albums in very different ways. Criminal Minded is full of camp bravado and the beats are matched to that energy. A little cheesy and a lot of heart La Rock chooses samples that keep the mood light despite the violent subject matter. And both La $ock and KRS-One will often devolve into silly little riffs on completely random songs (Hey Jude by The Beatles and It's Still Rock And Roll To Me by Billy Joel). It's a light and cheesy album that still shows off frank depictions of life in the Bronx while also ahowcasing the talents of KRS-ONE, D Nice, and of course DJ Scott La Rock.

Kraftwerk - Trans-Europe Express

By the time Kraftwerk hit the scene electronic music had already existed for decades. But before Kraftwerk it was mainly the realm of experimental mavericks and there was little commercial interest outside of a few oddities. With Trans-Europe Express Kraftwerk found themselves refining their sound in a more ambient and minimal direction. Tracks average six minutes a pop and feature rolling soundscapes of mechanical synths. The songs take more influence from minimalist composers and feature melodic ideas that slowly evolve over a long run time. It's an amazing album although it definitely overshadowed by the follow up album The Man-Machine which makes this one look like a warmup.

Willie Nelson - Red Headed Stranger

This was Willie Nelson's eighteenth album, but the first where he had full creative control. The result is a sparsely arranged concept album about a man trying to get away with the murder of his wife and her lover. The use of perfectly placed covers of country classics interspersed with original numbers to tell a coherent story is incredibly well done. And the stark instrumentation makes every single note feel significant. Every sorrowful guitar solo and walking bass line communicates as much story and emotion as the lyrics themselves. This is one of the greatest masterpieces in all of country music.

Daft Punk - Discovery

Where Daft Punk's debut Homework featured very traditional Chicago style House music Discovery evolved the sound into something completely new. The rigid mechanical grooves are replaced with a new, softer sound influenced by pop and R&B. Naturally fans of their first record hated it. In fact hating the newest Daft Punk record is kind of a tradition in the fandom. The instant commercial hits that were One More Time and Harder, Better, Faster, Stronger are well known but the album is loaded with catchy enjoyable tracks from start to finish. Whether it's the buzzsaw arpeggios of Aerodynamic or the slow balladry of Something About Us, the albums deep.cuts hit just as hard as the hits. Not to mention Too Long, my favorite Daft Punk song, which is a sprawling ten minute prog house epic.

Metallica - s/t (the black album)

After riding high as one of the greatest thrash acts of all time Metallica finally hit the mainstream by putting out one of the most tedious and boring pieces of shit imaginable. Yeah Enter Sandman has a pretty iconic riff, well one good song doesn't make a good album. Literally everything after that sucks and it's the opening track. The album is a slow plodding mess that is constantly on the verge of becoming the thrash metal version of a Cinderella ballad. And let's not forget the overtly libertarian song Don't Tread On Me! Fuck this cringe ass album. I scooped the cat box right after listening to this and I'd rate that as a better experience than listening to the black album.

Black Sabbath - Master Of Reality

Master Of Reality provides the blueprint for all slow, sludge, stoner, and doom metal to come. The guitar and bass are down tuned and the sound is chuggy which hugely influenced later bands looking to make their sound heavier. The opener, Sweet Leaf is the original stoner metal song. And the acoustic interludes, Embryo and Orchid are definitely echoed in the slow acoustic intros to a million death metal songs.

Tori Amos - Little Earthquakes

Tori Amos seems to be working through some emotional baggage here, but my god is it the most overwrought garbage I've ever heard. Plodding piano ballads come one after another only occasionally pausing to become interesting. Little Earthquakes wants to be meaningful so very badly. It wants to be Hounds Of Love so very badly. But where Kate Bush can craft evocative beautiful music and lyrics Tori Amos produces melodramatic piano ballads and lyrics that feel like chatgpt trained on Kate Bush songs. I'm gonna say it again just to be mean: listen to Kate Bush instead.

John Coltrane - Giant Steps

After an iconoc tenure in most of Miles Davis' groups in the 50s saxophone legend John Coltrane set out as a solo artist. Giant Steps wasn't his first outing as a bandleader but it was the one that cemented him as the jazz artist of the 60s. The performances are monstrous here super special credit goes to Paul Chambers on bass for not just being able to keep up but for doing it with flair. The real thing about this album though is the chord changes. Coltrane pioneered a series of chord changes that used third intervals to keep the root of the chords equidistant from each other resulting in a loss of tonal center. The songs rapidly change keys and wind up being famously difficult to improv over, and that's before the frenetic pace of many of the songs comes into play. You may not understand any of what I just said, but trust me your brain can hear the effects. It's beautifully disorienting and you have no choice but to give in to Coltrane's whims, trusting that he knows where it's going

#500 album gauntlet #boogie down productions #kraftwerk #willie nelson #daft punk #metallica #black sabbath #tori amos #john coltrane

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fallinginreversefanblog · 10 months

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Josh Bernstein and Ronnie Radke talking about the FIR Coolio cover, "Gangsta's Paradise" live performance at APMA festival in Ohio, 2014. Josh was saving some news for Ronnie about that event 10 years ago.

Watch it below, it was a legendary show featuring Ronnie and FIR, Max Green, Tyler Carter from Issues and even Coolio himself for the rap parts (R.I.P.)

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And watch the original FIR (Coolio cover) "Gangsta's Paradise" video too, made in the same year by Fearless Records. The song itself was originally made for (and recorded on) the Punk Goes... series' "Punk Goes 90s Vol. 2." compilation.

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#falling in reverse #ronnie radke #coolio #max green #tyler carter #gangsta's paradise #Youtube

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keepingitneutral · 2 years

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Artis Leon Ivey Jr. (August 1, 1963 – September 28, 2022)

Ivey known professionally as Coolio, was an American rapper, record producer, and actor. Coolio achieved mainstream success in the mid-to-late 1990s with his albums It Takes a Thief (1994), Gangsta’s Paradise (1995), and My Soul (1997).

He was best known for his 1995 Grammy Award-winning hit single “Gangsta’s Paradise”, as well as other singles “Fantastic Voyage” (1994), “ 1, 2 ,3, 4 (Sumpin’ New)” (1996), and “C U When U Get There” (1997).

He provided the opening track “Aw, Here It Goes!” for the 1996 Nickelodeon television series Kenan & Kel.

From 1996 on, Coolio released albums independently.

He also created a web series titled Cookin’ with Coolio and released a cookbook.

Ivey originally rose to fame as a member of the gangsta rap group WC and the Maad Circle alongside WC and his brother, Crazy Toones.

Rest In Peace Coolio, You made a Masterpiece to be remembered.

Coolio - Fantastic Voyage (Official Music Video) [HD]

#youtube #art #music #rap #coolio #rip #ripcoolio #artis leon ivey Jr #90s #gansta's paradise #stevie wonder #fantastic voyage #maad circle #WC #legend #icone #masterpiece #crazy toones

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rap-bull · 3 months

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WHAT IS RAP?

Introduction

Rap, a musical genre deeply embedded in the roots of urban culture, has evolved into a global phenomenon that transcends boundaries and speaks to diverse audiences. In this article, we delve into the origins, characteristics, and impact of rap, exploring its journey from the streets to the mainstream.

Evolution of Rap

Early Origins

Rap's origins can be traced back to the Bronx in the 1970s, where block parties became the breeding ground for this expressive form of music. Influenced by African and Caribbean rhythmic traditions, rap quickly became a powerful medium for storytelling.

Influential Figures

Pioneers like Grandmaster Flash and Afrika Bambaataa laid the foundation for rap's growth. Over the decades, iconic figures such as Tupac Shakur and Notorious B.I.G. shaped the landscape, while diverse subgenres emerged, from gangsta rap to conscious hip-hop.

Characteristics of Rap

Lyricism

At the core of rap lies the art of lyricism, where artists weave intricate verses laden with meaning. From social commentary to personal narratives, rap lyrics are a reflection of the artist's experiences and observations.

Beats and Instrumentals

The marriage of powerful beats and creative instrumentals is another hallmark of rap. Producers play a pivotal role in shaping the sonic landscape, providing a canvas for artists to paint their lyrical portraits.

Flow and Delivery

A rapper's flow, the rhythmic pattern of their delivery, is a distinctive aspect of the genre. Whether it's a rapid-fire delivery or a laid-back cadence, a rapper's unique flow contributes to their individual style.

Impact of Rap on Culture

Social Commentary

Rap has often served as a voice for the voiceless, addressing societal issues and advocating for change. From N.W.A.'s critique of police brutality to Kendrick Lamar's introspective narratives, rap has been a powerful tool for social commentary.

Fashion and Lifestyle

The influence of rap extends beyond music to fashion and lifestyle. From baggy pants and gold chains to high-end designer labels, rap artists set trends that permeate mainstream culture.

Global Influence

What started in the Bronx now resonates globally. Rap has become a cultural bridge, transcending language barriers and connecting people from diverse backgrounds.

Common Misconceptions

Stereotypes

Rap often grapples with stereotypes that portray it as a glorification of violence or materialism. In reality, rap is a diverse genre that explores a wide range of themes, including resilience, love, and social justice.

Cultural Appropriation

Critics argue that rap has faced issues of cultural appropriation, particularly when artists from outside the African-American community adopt the style. However, many artists see this as a form of cultural exchange that enriches the genre.

Positive Aspects

Amidst controversies, it's essential to recognize rap's positive contributions, such as providing a platform for marginalized voices and fostering cultural understanding.

Key Elements of a Successful Rap Song

Storytelling

A compelling narrative lies at the heart of many successful rap songs. Whether it's recounting personal struggles or painting vivid pictures of urban life, storytelling is a skill revered in the rap community.

Rhyme Schemes

The intricate web of rhyme schemes distinguishes rap from other genres. The ability to weave words seamlessly, creating patterns that captivate listeners, is a hallmark of a skilled rapper.

Authenticity

Authenticity is prized in the rap world. Audiences connect with artists who stay true to themselves, and the most impactful rap often emerges from genuine experiences.

Influential Rap Artists

Pioneers

Grandmaster Flash, Run-D.M.C., and LL Cool J laid the groundwork, shaping rap's early landscape. These pioneers set the stage for the genre's exponential growth.

Contemporary Icons

In the contemporary scene, artists like Jay-Z, Eminem, and Kendrick Lamar have become household names, each contributing to rap's evolution in unique ways.

Diversity in the Industry

Rap is a melting pot of voices, with artists representing various backgrounds, genders, and cultures. Diversity continues to be a driving force in pushing the genre's boundaries.

Rap as an Art Form

Poetry Connection

Rap is often likened to poetry, with its rhythmic and rhyming elements. This connection highlights the artistic depth of rap, positioning it as a form of modern-day poetry.

Visual Representation

The visual aspect of rap, showcased through music videos and performances, adds another layer to the art form. The visual representation often complements and enhances the message conveyed in the lyrics.

Freestyle and Improvisation

The ability to freestyle, creating spontaneous verses on the spot, is a celebrated skill in the rap community. It showcases a rapper's quick thinking and creativity.

Controversies Surrounding Rap

Explicit Content

Rap has faced criticism for explicit content, including explicit language and themes. While some argue for artistic freedom, others question the impact on younger audiences.

Censorship

The debate over censorship in rap brings to light questions about freedom of expression versus the responsibility to protect audiences, particularly minors, from potentially offensive content.

#rap #rapper #underground #how to rap #hip hop #artist #poetry #lyricism

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