ryuH

1y

Being “gangsta” is the modern equivalent of being macho especially in the black community. For whites is all about being “bad ass” or whatever. No man wants to be seen as soft or as a p**** even if he really is unless he’s gay or intentionally being androgynous. It is what it is. H****sapien males doing testosterone fueled s*** is nothing new.

Skinn Foley

1y

I think the void that's slowly being filled is that aggressive, intimidating, raw conscious rap petered out of style in the mainstream beginning in the early 90s (if not the late 80s), so the only viable and largely known, modern ability for artists to be taken seriously as being "hard" in some capacity comes from the avenue of certain kinds of trap, drill, and "gangsta rap" in general.

Public Enemy for example could make unbelievably hard music that portrayed Chuck D in a tough and even intimidating light but did so without having to cater to vulgar masculine stereotypes and creating a facade for how his life was to seem "hood". Ironically enough, a lot of old PE records had a lot of respect in the "hood" that many modern wannabe trap artists/gangsta rappers lack despite trying to come across as either being "from the streets" or "in touch with the streets", Drake being one of many examples of this gap between public image and actual resonance in the communities and environments Drake tries to invoke to prove his "street cred".

At some point in the 2000s, "conscious rap" became associated with smooth, polite, and inoffensive music that had a "message", which largely extracted the most fundamental aspect about acts like Public Enemy, Paris, the political sides of Ice Cube, Dead Prez, KRS-One, etc, so gripping, in that the fury against injustice of some kind was missing from the music. It was seen as almost vulgar or "ignorant" to make aggressive rap music at all, especially by a lot of backpacker movements in the 2000s that thought such a sound was poorly representing "real hip hop", the vision for "real hip hop" in their eyes being an extremely narrow, polished, and one-sided perspective of the 90s jazz rap movement. Thus, the ability to make cathartic, "hard" music that could be taken seriously got squeezed out of the industry in a lot of ways, and made "real hip hop" perceived as this overly polite and in some cases whitewashed, tame style of music, that is largely alien to the grassroots of the abrasive, confrontational sound of hip hop in all its forms, whereas trap is obviously much more belligerent, cathartic, and raw sonically, at least outside of the times that it is co-opted into pop music of some kind.

There's a slow fomenting of "exciting" and "raw" conscious rap bubbling up in the underground but we still have a ways to go before we start getting s*** like "Fight the Power", "Sound of Da Police", "It's Bigger Than Hip Hop", "m.A.A.d City", etc, up to the forefront of the culture. Kendrick is basically the only big rapper who comes with that adrenaline pumping style of conscious rap in the mainstream and even in the underground itself, it's a rarity but has grown since the start of the 2020s. People need to see that anger and rage at something, be it systemic injustice or everyday life in poverty/crime can be expressed effectively and confrontationally outside of the context of trying to be "street", because a lot of modern street music doesn't even do a good job at illuminating the larger reality that "street life" is born out of to begin with. I blame Dre for that development frankly.

Skinn Foley

1y

I think the void that's slowly being filled is that aggressive, intimidating, raw conscious rap petered out of style in the mainstream beginning in the early 90s (if not the late 80s), so the only viable and largely known, modern ability for artists to be taken seriously as being "hard" in some capacity comes from the avenue of certain kinds of trap, drill, and "gangsta rap" in general.

Public Enemy for example could make unbelievably hard music that portrayed Chuck D in a tough and even intimidating light but did so without having to cater to vulgar masculine stereotypes and creating a facade for how his life was to seem "hood". Ironically enough, a lot of old PE records had a lot of respect in the "hood" that many modern wannabe trap artists/gangsta rappers lack despite trying to come across as either being "from the streets" or "in touch with the streets", Drake being one of many examples of this gap between public image and actual resonance in the communities and environments Drake tries to invoke to prove his "street cred".

At some point in the 2000s, "conscious rap" became associated with smooth, polite, and inoffensive music that had a "message", which largely extracted the most fundamental aspect about acts like Public Enemy, Paris, the political sides of Ice Cube, Dead Prez, KRS-One, etc, so gripping, in that the fury against injustice of some kind was missing from the music. It was seen as almost vulgar or "ignorant" to make aggressive rap music at all, especially by a lot of backpacker movements in the 2000s that thought such a sound was poorly representing "real hip hop", the vision for "real hip hop" in their eyes being an extremely narrow, polished, and one-sided perspective of the 90s jazz rap movement. Thus, the ability to make cathartic, "hard" music that could be taken seriously got squeezed out of the industry in a lot of ways, and made "real hip hop" perceived as this overly polite and in some cases whitewashed, tame style of music, that is largely alien to the grassroots of the abrasive, confrontational sound of hip hop in all its forms, whereas trap is obviously much more belligerent, cathartic, and raw sonically, at least outside of the times that it is co-opted into pop music of some kind.

There's a slow fomenting of "exciting" and "raw" conscious rap bubbling up in the underground but we still have a ways to go before we start getting s*** like "Fight the Power", "Sound of Da Police", "It's Bigger Than Hip Hop", "m.A.A.d City", etc, up to the forefront of the culture. Kendrick is basically the only big rapper who comes with that adrenaline pumping style of conscious rap in the mainstream and even in the underground itself, it's a rarity but has grown since the start of the 2020s. People need to see that anger and rage at something, be it systemic injustice or everyday life in poverty/crime can be expressed effectively and confrontationally outside of the context of trying to be "street", because a lot of modern street music doesn't even do a good job at illuminating the larger reality that "street life" is born out of to begin with. I blame Dre for that development frankly.

Big Tobacco

1y

Decided to check out Paris cuz of this post and this s*** is tough

Need to put together a playlist of banging ass protest/conscious rap

Skinn Foley

1y

I already got you covered brudda

https://music.youtube.com/playlist?list=PLgzeo2CVEgvojxNr180B0j7TNe3tD08Fx

There's more I want to add but this is my favorite "conscious" song of the year for hip hop

they're mostly bangers as that's my intention with the playlist

I love making historically-themed playlists because I like seeing how the sound grows and evolves over time

Big Tobacco

1y

Thanks bro

Gonna listen to Paris second album here in a bit

Prbz

1y

Them niggas from illtown they were not acting

Plus Treach is one of them ones for reasons i will not put on this site

browser

1y

There’s still a choice in marketing there even if so

Skinn Foley

1y

I think the void that's slowly being filled is that aggressive, intimidating, raw conscious rap petered out of style in the mainstream beginning in the early 90s (if not the late 80s), so the only viable and largely known, modern ability for artists to be taken seriously as being "hard" in some capacity comes from the avenue of certain kinds of trap, drill, and "gangsta rap" in general.

Public Enemy for example could make unbelievably hard music that portrayed Chuck D in a tough and even intimidating light but did so without having to cater to vulgar masculine stereotypes and creating a facade for how his life was to seem "hood". Ironically enough, a lot of old PE records had a lot of respect in the "hood" that many modern wannabe trap artists/gangsta rappers lack despite trying to come across as either being "from the streets" or "in touch with the streets", Drake being one of many examples of this gap between public image and actual resonance in the communities and environments Drake tries to invoke to prove his "street cred".

At some point in the 2000s, "conscious rap" became associated with smooth, polite, and inoffensive music that had a "message", which largely extracted the most fundamental aspect about acts like Public Enemy, Paris, the political sides of Ice Cube, Dead Prez, KRS-One, etc, so gripping, in that the fury against injustice of some kind was missing from the music. It was seen as almost vulgar or "ignorant" to make aggressive rap music at all, especially by a lot of backpacker movements in the 2000s that thought such a sound was poorly representing "real hip hop", the vision for "real hip hop" in their eyes being an extremely narrow, polished, and one-sided perspective of the 90s jazz rap movement. Thus, the ability to make cathartic, "hard" music that could be taken seriously got squeezed out of the industry in a lot of ways, and made "real hip hop" perceived as this overly polite and in some cases whitewashed, tame style of music, that is largely alien to the grassroots of the abrasive, confrontational sound of hip hop in all its forms, whereas trap is obviously much more belligerent, cathartic, and raw sonically, at least outside of the times that it is co-opted into pop music of some kind.

There's a slow fomenting of "exciting" and "raw" conscious rap bubbling up in the underground but we still have a ways to go before we start getting s*** like "Fight the Power", "Sound of Da Police", "It's Bigger Than Hip Hop", "m.A.A.d City", etc, up to the forefront of the culture. Kendrick is basically the only big rapper who comes with that adrenaline pumping style of conscious rap in the mainstream and even in the underground itself, it's a rarity but has grown since the start of the 2020s. People need to see that anger and rage at something, be it systemic injustice or everyday life in poverty/crime can be expressed effectively and confrontationally outside of the context of trying to be "street", because a lot of modern street music doesn't even do a good job at illuminating the larger reality that "street life" is born out of to begin with. I blame Dre for that development frankly.

Skinn Foley

1y

I think the void that's slowly being filled is that aggressive, intimidating, raw conscious rap petered out of style in the mainstream beginning in the early 90s (if not the late 80s), so the only viable and largely known, modern ability for artists to be taken seriously as being "hard" in some capacity comes from the avenue of certain kinds of trap, drill, and "gangsta rap" in general.

Public Enemy for example could make unbelievably hard music that portrayed Chuck D in a tough and even intimidating light but did so without having to cater to vulgar masculine stereotypes and creating a facade for how his life was to seem "hood". Ironically enough, a lot of old PE records had a lot of respect in the "hood" that many modern wannabe trap artists/gangsta rappers lack despite trying to come across as either being "from the streets" or "in touch with the streets", Drake being one of many examples of this gap between public image and actual resonance in the communities and environments Drake tries to invoke to prove his "street cred".

At some point in the 2000s, "conscious rap" became associated with smooth, polite, and inoffensive music that had a "message", which largely extracted the most fundamental aspect about acts like Public Enemy, Paris, the political sides of Ice Cube, Dead Prez, KRS-One, etc, so gripping, in that the fury against injustice of some kind was missing from the music. It was seen as almost vulgar or "ignorant" to make aggressive rap music at all, especially by a lot of backpacker movements in the 2000s that thought such a sound was poorly representing "real hip hop", the vision for "real hip hop" in their eyes being an extremely narrow, polished, and one-sided perspective of the 90s jazz rap movement. Thus, the ability to make cathartic, "hard" music that could be taken seriously got squeezed out of the industry in a lot of ways, and made "real hip hop" perceived as this overly polite and in some cases whitewashed, tame style of music, that is largely alien to the grassroots of the abrasive, confrontational sound of hip hop in all its forms, whereas trap is obviously much more belligerent, cathartic, and raw sonically, at least outside of the times that it is co-opted into pop music of some kind.

There's a slow fomenting of "exciting" and "raw" conscious rap bubbling up in the underground but we still have a ways to go before we start getting s*** like "Fight the Power", "Sound of Da Police", "It's Bigger Than Hip Hop", "m.A.A.d City", etc, up to the forefront of the culture. Kendrick is basically the only big rapper who comes with that adrenaline pumping style of conscious rap in the mainstream and even in the underground itself, it's a rarity but has grown since the start of the 2020s. People need to see that anger and rage at something, be it systemic injustice or everyday life in poverty/crime can be expressed effectively and confrontationally outside of the context of trying to be "street", because a lot of modern street music doesn't even do a good job at illuminating the larger reality that "street life" is born out of to begin with. I blame Dre for that development frankly.

Skinn Foley

1y

I think the void that's slowly being filled is that aggressive, intimidating, raw conscious rap petered out of style in the mainstream beginning in the early 90s (if not the late 80s), so the only viable and largely known, modern ability for artists to be taken seriously as being "hard" in some capacity comes from the avenue of certain kinds of trap, drill, and "gangsta rap" in general.

Public Enemy for example could make unbelievably hard music that portrayed Chuck D in a tough and even intimidating light but did so without having to cater to vulgar masculine stereotypes and creating a facade for how his life was to seem "hood". Ironically enough, a lot of old PE records had a lot of respect in the "hood" that many modern wannabe trap artists/gangsta rappers lack despite trying to come across as either being "from the streets" or "in touch with the streets", Drake being one of many examples of this gap between public image and actual resonance in the communities and environments Drake tries to invoke to prove his "street cred".

At some point in the 2000s, "conscious rap" became associated with smooth, polite, and inoffensive music that had a "message", which largely extracted the most fundamental aspect about acts like Public Enemy, Paris, the political sides of Ice Cube, Dead Prez, KRS-One, etc, so gripping, in that the fury against injustice of some kind was missing from the music. It was seen as almost vulgar or "ignorant" to make aggressive rap music at all, especially by a lot of backpacker movements in the 2000s that thought such a sound was poorly representing "real hip hop", the vision for "real hip hop" in their eyes being an extremely narrow, polished, and one-sided perspective of the 90s jazz rap movement. Thus, the ability to make cathartic, "hard" music that could be taken seriously got squeezed out of the industry in a lot of ways, and made "real hip hop" perceived as this overly polite and in some cases whitewashed, tame style of music, that is largely alien to the grassroots of the abrasive, confrontational sound of hip hop in all its forms, whereas trap is obviously much more belligerent, cathartic, and raw sonically, at least outside of the times that it is co-opted into pop music of some kind.

There's a slow fomenting of "exciting" and "raw" conscious rap bubbling up in the underground but we still have a ways to go before we start getting s*** like "Fight the Power", "Sound of Da Police", "It's Bigger Than Hip Hop", "m.A.A.d City", etc, up to the forefront of the culture. Kendrick is basically the only big rapper who comes with that adrenaline pumping style of conscious rap in the mainstream and even in the underground itself, it's a rarity but has grown since the start of the 2020s. People need to see that anger and rage at something, be it systemic injustice or everyday life in poverty/crime can be expressed effectively and confrontationally outside of the context of trying to be "street", because a lot of modern street music doesn't even do a good job at illuminating the larger reality that "street life" is born out of to begin with. I blame Dre for that development frankly.

Skinn Foley

1y

I think the void that's slowly being filled is that aggressive, intimidating, raw conscious rap petered out of style in the mainstream beginning in the early 90s (if not the late 80s), so the only viable and largely known, modern ability for artists to be taken seriously as being "hard" in some capacity comes from the avenue of certain kinds of trap, drill, and "gangsta rap" in general.

Public Enemy for example could make unbelievably hard music that portrayed Chuck D in a tough and even intimidating light but did so without having to cater to vulgar masculine stereotypes and creating a facade for how his life was to seem "hood". Ironically enough, a lot of old PE records had a lot of respect in the "hood" that many modern wannabe trap artists/gangsta rappers lack despite trying to come across as either being "from the streets" or "in touch with the streets", Drake being one of many examples of this gap between public image and actual resonance in the communities and environments Drake tries to invoke to prove his "street cred".

At some point in the 2000s, "conscious rap" became associated with smooth, polite, and inoffensive music that had a "message", which largely extracted the most fundamental aspect about acts like Public Enemy, Paris, the political sides of Ice Cube, Dead Prez, KRS-One, etc, so gripping, in that the fury against injustice of some kind was missing from the music. It was seen as almost vulgar or "ignorant" to make aggressive rap music at all, especially by a lot of backpacker movements in the 2000s that thought such a sound was poorly representing "real hip hop", the vision for "real hip hop" in their eyes being an extremely narrow, polished, and one-sided perspective of the 90s jazz rap movement. Thus, the ability to make cathartic, "hard" music that could be taken seriously got squeezed out of the industry in a lot of ways, and made "real hip hop" perceived as this overly polite and in some cases whitewashed, tame style of music, that is largely alien to the grassroots of the abrasive, confrontational sound of hip hop in all its forms, whereas trap is obviously much more belligerent, cathartic, and raw sonically, at least outside of the times that it is co-opted into pop music of some kind.

There's a slow fomenting of "exciting" and "raw" conscious rap bubbling up in the underground but we still have a ways to go before we start getting s*** like "Fight the Power", "Sound of Da Police", "It's Bigger Than Hip Hop", "m.A.A.d City", etc, up to the forefront of the culture. Kendrick is basically the only big rapper who comes with that adrenaline pumping style of conscious rap in the mainstream and even in the underground itself, it's a rarity but has grown since the start of the 2020s. People need to see that anger and rage at something, be it systemic injustice or everyday life in poverty/crime can be expressed effectively and confrontationally outside of the context of trying to be "street", because a lot of modern street music doesn't even do a good job at illuminating the larger reality that "street life" is born out of to begin with. I blame Dre for that development frankly.

insertcoolnamehere

1y

https://www.instagram.com/reel/C3ItlAhrMWk/?igsh=c2dzcmljZ3B2c2Z4

Bruh wtf is this @browser

X7JQ9L2MF4A8Z

1y

bro was a good poster man

browser

1y

What did he get banned for

This site slowly killing itself off banning posters like that who actually are good / interesting at talking music over the silliest s***

Tubig

1y

He posted p*** to get banned