I think Eminem, but more Eminem by way of Hopsin. Just, the twisted ness. And the darkness in his humor.
Partially, I enjoy the in-your-face-ness of it– that shock quality. But there’s something to be said for subtlety.
I like when people incorporate twisted humor in an understated way. This is one track where, I swear, I can visually see Eminem’s influence but the song itself just screams summertime. To me, it does something more creative with the source. Because we all know, nobody is going to do what Em did better than Em.
Yeah, I’m gonna make my pick before I respond to last week, what of it?
The thing I like about Shad is his self-awareness…I mean, he knows what he’s not. And that goes along with my conviction that people really do appreciate the genuine. Plus, he smiles a lot.
I mean, look at this guy. He is not aggro. He is not twisted. He is not militant, or protesting. He’s just him.
There’s a lyric that states that in college they called his stuff “highbrow.” Do you agree?
I know we agreed to go on hiatus, because I’m going on hiatus. But I just wanted to leave this track here. You don’t have to respond to it if you don’t want to, but if you want to, I’m curious what you think and what your favorite line is.
The thing I find most compelling is she really had “no money/ no family/ 16 in the middle of Miami.” The real real.
When someone’s frontin like they’re something else, you call them a poser.
But what if they’re adapting, every single song?
This week I want to look at the many faces of Logic.
You might disagree with me, but these are the songs and the artists I think were his biggest influence in terms of the song’s artistic bent:
Logic, in the style of Nas:
Logic, in the style of Eminem:
Logic, in the style of Drake:
Now, is this artistic plagiarism? Or are you impressed at how versatile he can be? Even more importantly, is this the real real that hip hop is always looking for?
This week’s a throwback for sure.
I asked how well you knew The Fugees, I’m willing to bet you probably know this one. All I want you to do is tell me how you think this changed the hip hop game way back in ’96.
Also, who do you think has the best verse, and why is it Lauryn Hill?
“We’re no longer black/ we’re gold from here on out”
The natural resources are, of course, the oppressed peoples, the black folk, those who (as Kanye astutely points out) were shipped over from Africa and now have slave owners’ names. They are the naturally resourceful resources, those who were used like things and moved like cattle but became like gods.
I have to say about Raz: I think he’d be really comfortable in the spoken word scene, because he raps like a spoken word artist. Lack of end rhyme sometimes, and the way he flows, it really just feels like he’s talking to you. Which is cool. Also, his subject matter is up there with the spoken word crowd, activistic.
Place plays a huge role in everything post-postmodern, and especially in hop-hop.
So this week, I just want you to tell me: how do we know where we are in this song?
Can you tell just by the cadence where these guys are from?
resemblance of sounds.
Also called vowel rhyme. Prosody . rhyme in which the same vowel sounds are used with different consonants in the stressed syllables of the rhyming words, as in penitent and reticence.
partial agreement or correspondence.
“Burn ’em all, slaves to silicon
Corrupt politicians with leaders and their keywords
F.B.I and spys stealin’ bombs”
I feel like I’ve spent my whole life in school to answer this type of question. All my linguistic training and breakdown knowledge of poetry finally comes in handy. Unlikeliest of places, ha! Rap is poetry after all.
And Deltron is a serious poet. He has the techniques down pat. His use of end rhyme is excellent, internal rhyme superb. But what he does best is vowel rhyme.
I mean, look at that quote up there. He does the internal “F.B.I./ spy” which would be dope as it is. But then he has to do “silicon/bombs” to take it over the top.
Kid Koala, Del the Funky Homosapien & Dan the Automator – Deltron 3030
The question is, why do we not see this in other rappers? It’s really because they’re not that good at it. I mean, some are. But it requires a mastery of language and a vocabulary to back it up–or the vowel bending skills of Eminem to make a slant. But in general, this type of perfect assonance is thoughtful, and complex, and can only come from the type of mind that Deltron has.
It also correlates with his subject matter–only a clever mastermind would be able to build a device like this to get his point across. Infectious like a virus.
I feel like females are underrepresented on our blog.
I don’t think my contribution this week will help much though.
So, you’ve probably guessed that I want to compare and contrast Lil Debbie and RiFF, but it’s only because they are so
Formulaically, that is.
So this week, tell me…what is it that makes him so much more believable?
I’m especially interested in the way their lyrics work. Because if you diagram it out…they might as well be the same person. Damn.
“There’s been a lot of talk over the last year or two about conflict between G.O.O.D. Music and Young Money and Cash Money. I just wanted to put it to bed and create an eventful moment where me and [Lil] Wayne being Young Money/Cash Money on one team, Q-Tip and Kanye [West] be on another movement on G.O.O.D. Music, just showing that camaraderie and that alliance and just making it official on a real Hip Hop level.”
-Busta Rhymes, Hip Hop DX interview 8/13
When I first heard this track I thought Yeezy produced it. It’s typical Kanye style– the old-school sample, the low-down beat, looping the chorus, it’s all there. But when I saw Busta produced it, I knew there was something up.
You got half of it right–he wants to thank a higher power for laying a foundation. But the higher power he’s thanking, is Yeezus. (Man, this is the second week in a row my post has underlyingly been about Kanye…I have got to stop doing that.)
The using-a-track-to-reconcile-two-labels thing could have been really cheesy. Thinking about using a song as a bridge between two peoples is way too ebony and ivory for my taste. But Busta does a great job of paying homage to Kanye/G.O.O.D. Music by emulating his production style and keeping his part very minimal. It’s very subtle, and I like it.
Also, stroking Kanye’s ego never hurts.
Because after all, the person who trailblazed the 80’s samples, the track loops of jackson 5 and such, Yeezy taught us that. And because of him, it’s possible to teach an old dog new tricks.