DUBCC - Tha Connection > Outbound Connection
The South Is Mad At Nas
Noname:
--- Quote from: Ellsworth "Bumpy" Johnson on November 05, 2006, 09:31:49 AM ---My God...
Efrain just does not know when to quit, does he? From using Wikipedia to try and prove his points (which winds up just proving his ignorance instead) to misquoting people...ugh. This fool needs to learn when to put a sock in it.
The thing that's most retarded to me is that he continues to argue about the complexity of G-Funk compared to Crunk. Hey, Efrain, since you're into using Wikipedia to prove your points, have you seen what it says about G-Funk?
--- Quote ---This genre was characterized by a generally hedonistic subject matter including violence, sex, and drug use, and a slurred "lazy drawl" that sacrificed lyrical complexity for clarity and rhythmic cadence.
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--- Quote ---Prior to the success of The Chronic, prominent groups of the golden age of hip hop such as Public Enemy and Native Tongues Posse, embraced more socially aware issues such as drug abuse, poverty, racism, and African American empowerment. Whereas rappers utilizing the G-funk sound essentially rapped about the gangsta subject matter that Dre's former group, N.W.A, had helped bring to the mainstream in the late 1980s. This led to some criticism from hip hop purists, who accused these rappers of "dumbing down" rap. In 1994, Chicago rapper Common released the song "I Used to Love H.E.R." on his album Resurrection; the track essentially summed up the sentiments of hip-hop purists, and received notable attention in the underground. It was this disillusionment with mainstream hip hop that led certain hip hop critics to enthusiastically embrace East Coast albums such as Black Moon's Enta Da Stage, The Wu-Tang Clan's Enter the Wu-Tang (36 Chambers) (see 1993 in music), and Nas's and The Notorious B.I.G.'s respective debuts: Illmatic and Ready to Die (see 1994 in music). These successive releases were hailed as the beginning of an East Coast hip hop renaissance, that later included albums such as Only Built 4 Cuban Linx, The Infamous, Doe Or Die, and Reasonable Doubt. Ready to Die, in particular, established Bad Boy Records as a significant competitor against the West Coast hip hop scene led by Death Row Records.
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So according to wikipedia, g funk artists destroyed hiphop...
Narrator:
--- Quote from: Gimme Punani on November 05, 2006, 10:46:49 AM ---
--- Quote from: Ellsworth "Bumpy" Johnson on November 05, 2006, 09:31:49 AM ---My God...
Efrain just does not know when to quit, does he? From using Wikipedia to try and prove his points (which winds up just proving his ignorance instead) to misquoting people...ugh. This fool needs to learn when to put a sock in it.
The thing that's most retarded to me is that he continues to argue about the complexity of G-Funk compared to Crunk. Hey, Efrain, since you're into using Wikipedia to prove your points, have you seen what it says about G-Funk?
--- Quote ---This genre was characterized by a generally hedonistic subject matter including violence, sex, and drug use, and a slurred "lazy drawl" that sacrificed lyrical complexity for clarity and rhythmic cadence.
--- End quote ---
--- Quote ---Prior to the success of The Chronic, prominent groups of the golden age of hip hop such as Public Enemy and Native Tongues Posse, embraced more socially aware issues such as drug abuse, poverty, racism, and African American empowerment. Whereas rappers utilizing the G-funk sound essentially rapped about the gangsta subject matter that Dre's former group, N.W.A, had helped bring to the mainstream in the late 1980s. This led to some criticism from hip hop purists, who accused these rappers of "dumbing down" rap. In 1994, Chicago rapper Common released the song "I Used to Love H.E.R." on his album Resurrection; the track essentially summed up the sentiments of hip-hop purists, and received notable attention in the underground. It was this disillusionment with mainstream hip hop that led certain hip hop critics to enthusiastically embrace East Coast albums such as Black Moon's Enta Da Stage, The Wu-Tang Clan's Enter the Wu-Tang (36 Chambers) (see 1993 in music), and Nas's and The Notorious B.I.G.'s respective debuts: Illmatic and Ready to Die (see 1994 in music). These successive releases were hailed as the beginning of an East Coast hip hop renaissance, that later included albums such as Only Built 4 Cuban Linx, The Infamous, Doe Or Die, and Reasonable Doubt. Ready to Die, in particular, established Bad Boy Records as a significant competitor against the West Coast hip hop scene led by Death Row Records.
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So according to wikipedia, g funk artists destroyed hiphop...
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Yeah, basically. Yet this is the same site that Efrain uses to defend his position that Crunk = bad, but G-Funk = good.
Efrain:
--- Quote from: BuddenzNasir on November 05, 2006, 09:01:58 AM ---SGV...i don't care about the SOUTH AS A WHOLE, and I do not care about the Origins of crunk or get buck music itself. I really don't give a fuck. I was simply stating, thats whatever Efrain was reffering to as his preference of music, is what i can agree with him on. No doubt that the south as a whole, is something your explaining. But i also don't care. For some reason though this makes us uneducated? You're smart, but pretty ignorant. Some people dont give a fuck about the whole south and the arguments of the origins of crunk, like me =].
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Thank you, that's all I'm trying to say here. Crunk isn't all of southern rap, it isn't all of the dirty south, it is its own unique exclusive brand.. that's all.
Clearly this is an uphill battle and most of the people checking in with this thread have their minds made up on the subject so I suppose that really leaves me talking to the wall here (or casting pearls before swine) so I'll take the hint the argument isn't being heard and move on.
SGV, you've show me quotes from Three Six saying they pioneered the sound and have made some Crunk "type" records. So answer me this then, honestly. How do those two statements contradict the pervious ones where they said they are fine with "Lil Jon being the king of Crunk" and their overall style of music was never called Crunk?
In the quotes you showed me Three Six Mafia never said they were Crunk and they never said Lil Jon inst the king so how does that disprove the aforementioned statements?
I'm not even trying to be argumentative or even coy at this point I'm just wondering how you came to reconcile those.
SGV:
--- Quote from: BuddenzNasir on November 05, 2006, 10:00:24 AM ---
Im still not talking bout the south as a whole....rofl?
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That's called a generality idiot. It was aimed at anyone who tries to stereotype the South by using a handfull of artists. You're impossible.
--- Quote from: Efrain on November 05, 2006, 11:27:57 AM ---
Thank you, that's all I'm trying to say here. Crunk isn't all of southern rap, it isn't all of the dirty south, it is its own unique exclusive brand.. that's all.
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Nobody is saying Crunk is South Rap. LOL. Where are you getting that from? Are you seriously dumb?
--- Quote from: Efrain on November 05, 2006, 11:27:57 AM ---Clearly this is an uphill battle and most of the people checking in with this thread have their minds made up on the subject so I suppose that really leaves me talking to the wall here (or casting pearls before swine) so I'll take the hint the argument isn't being heard and move on.
SGV, you've show me quotes from Three Six saying they pioneered the sound and have made some Crunk "type" records. So answer me this then, honestly. How do those two statements contradict the pervious ones where they said they are fine with "Lil Jon being the king of Crunk" and their overall style of music was never called Crunk?
In the quotes you showed me Three Six Mafia never said they were Crunk and they never said Lil Jon inst the king so how does that disprove the aforementioned statements?
I'm not even trying to be argumentative or even coy at this point I'm just wondering how you came to reconcile those.
--- End quote ---
Efrain, what you don't get is this: You're the only one trying to fight this battle. You've been beat. Everyone's agreed. But you continue. It's like beating a dead horse with you.
What does Lil Jon being the King of Crunk have to do with anything? You keep bringing that up like it's proving something. Yeah, so Paul has no problem with Lil Jon being called the King of Crunk. He's humble enough to not care. But, he obviously wants the credit for Pioneering Crunk music. Yes, we ALL know Memphis Rap was called Buck music. But, as Juicy J stated, it changed from being called Buck to Crunk. Hence, the origin of Crunk is still Buck, which Three Six originated.
The fact that they called Lil Jon the King of Crunk has nothing to do with anything. The fact that they state they originated Crunk means the most, as it destroys everything you tried to say here. That means that they consider themselves Crunk and that they made Crunk before Lil Jon (which means there's another side to Crunk that you have no clue of).
Is English not your first language? Why can't you grasp anything here?
BuddenzNasir:
--- Quote from: SGV on November 05, 2006, 09:25:09 AM ---Dude... Why are you even in this? LOL. I don't want to have to get into another 7 pages schooling someone else... Plain and simple. If you have a problem with Lil Jon and Ying Yang Twins... Cool. But, don't stereotype the entire South because of that. THAT makes you uneducated.
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generality? you were calling efrain and me uneducated. i think thats pretty specific on who you're talking to, but whatever
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