It's May 16, 2024, 09:37:04 AM
Can you really claim G-Funk is THAT creative when they do more sampling than Crunk.
Eh, I can’t argue with you guys anymore. Bottom line, you are being delusional and overly emotional. I can’t have a debate with people who stray off topic, who evade direct questions and create their own truths. We’re all entitled to our own opinions but not our own facts. You guy's just aren’t in touch with reality, saying absolutely absurd things like “history hasn’t been kind to g-funk” and “g-funk’s not creative at all.” That’s completely asinine and retarded. Historically, factually and commonly understood to be inaccurate. So keep living in fantasy land guys if it makes you feel better about bumping that Lil Jon CD, screaming the monosyllabic catch phrases and sipping Crunk Juice… don’t worry about a thing, the rest of the world takes you just as seriously as you do.
We slaughter wiggers and dump them in ditches.
And how is saying "history has not been kind to G-Funk" absurd? Now look who's not answering MY questions, wigger...how is that not the truth? Is it not true that pretty much all of the G-Funk rappers who were popular in the 90s have basically been forgotten today except for a few?
There was a time (which I remember well) when just about every other song played on urban stations was a G-Funk record, and yet most of those records I remember from those days are most definitely NOT remembered.
But comparing Crunk to G-Funk is not a valid comparison. G-Funk was much more versatile - it had shit that could bump in a club, but it also had some really deep, thought provoking moments that you could really zone out on as well. Crunk serves one purpose - to get asses shaking in a club. G-Funk could do that, but it could do a lot more. And yes, G-Funk was sampling P-Funk and Zapp but it definitely wasn't pigeonholed to those samples. There were TONS of reggae and jazz influences from the getty up.
And De La & EPMD were flipping those same funk samples quite frequently as well.
This is what I’m talking about, you’re being too emotional.
In the end everyone already agrees with me
If I wanted to have a discussion with someone that kept getting overwhelmed and couldn’t deal with facts and rational I’d talk to my chick.
Ok, I’m clearly unable to get through to you, probably because I don’t speak retard
Now I don’t even need to know what you wrote (magic!) because you must have mentioned Dr. Dre, Snoop Dogg, Ice Cube and either Warren G and DJ Quik or Eazy E or maybe even the Dogg Pound. Either way of the 5 biggest stars from that era, an era that is keep in mind over a decade (that’s ten years) old, at least 3 of those names are not only still HUGE stars but one of them practically runs the rap game, more so than he did back in his prime (I think we know who I referring to). And Snoop has never fallen short of a platinum plaque since his g-funk debut As of now 2006 he’s essentially keeping the entire west coast relevant. As for Cube, well he is without a doubt the biggest rapper/actor in history, and even when he comes back to rap after a 5 year hiatus he can still sell half a million. DJ Quik is to this day considered one of the best producers in the game still being asked to produce records for the best and Eazy E is dead. As for Daz, Kurupt and Warren G they don’t have the same level of success but they are by no means washed up or broke. Going gold or selling +100,000 copies is far from doing bad, in fact it’s better than the majority of rap artists do now.So if you don’t call that type of success “history being kind to g-funk artists” you don’t know the meaning of the word.
I don’t know what type of g-funk music they played on the radio in the asylum you grew up in, but for the rest of us living on the outside of institutions the biggest hits came from Dre’s “Chronic”, Snoop’s “Doggystyle”, Cube’s “Predator” and “Lethal Injection” and probably Warren G’s “Regulate… G funk Era.” Even the influenced records from the East coast like “Big Poppa” now, are you really trying to tell me and everyone else reading this thread that not only 1) those records aren’t still played on the radio today and 2) those records aren’t remembered?
I think its time to up the dosage my friend, clearly your medicine levels are due for an adjustment.
It's ok Ellsworth, just calm down and give me your doctors number I'll call him for you. We'll get through this ok? I promise everything is going to be all right.
Quote from: Efrain on October 31, 2006, 09:11:50 PMIt's ok Ellsworth, just calm down and give me your doctors number I'll call him for you. We'll get through this ok? I promise everything is going to be all right.LOL, why are you telling me I need a doctor? I'm not the one who argues with my imaginary girlfriend. Schizophrenic-ass white boy.Oh, yeah and you just got ethered. Prepare for further blows from SGV.
… and those lyrics? C’mon man, what kind of dog shit is that? That’s a facile comparison and you know it. You want to quote g-funk by quoting Kurupt over half a decade later? Nice try, lets be fare and look at a Kurupt verse during g-funk and you tell me (and everyone here) it isn’t 1) complex, 2) creative and 3) sparks cognitive processing. Verse one: Kurupt, “New York, New York”It’s the incredible, the lyricalYou can’t be me like nietzsche, to see me is gonna take a miracleI’m driving motherfuckers hysterical, with aTouch of this twister, stylistic mixtureWhat I create pulsates, there is no escapeAnnihilate your mental mindstateDre labels my vocabulary abusiveI packs more knowledge than confuscius, I’m deadlyInduce you like medusa, with thoughts to shedAnd niggaz throughout this hemisphere, far and nearPrepare, catch me chillin like the winterUp against the number one contender, as I enterCause I gets heated like frictionMotherfuck your whole jurisdiction, react this fact not fictionTelepathic addiction, to this homicidal recitalDangerous and vital to all my rivalsSuicidal, brainwaves conveysTo the average motherfuckers minds these daysI’m all ready to put work inTake ten steps and turn to shoot the first nigga smirkinGive a fuck, what’s your name, what you claimOr why you came, motherfucker don’t explainSimply, don’t tempt me, cause I’m simplyLayin hoes life’s empty, the invincible mcNow lets look at a Lil Jon verse from his “Kings of Crunk” album, his highest selling and most well know. Verse two: Lil Jon, “Bitches”You be actin like a bitchSo we treat you like a bitchYou be actin like a bitchSo we treat you like a bitchWe beat you like a bitchKick your ass like a bitchWe take your fuckin shitAnd leave you stuck like a bitchYou wearin panties like a bitchYo pussy like a bitchYou sound like a bitchYou talkin like a bitchYou cryin like a bitchYou whinin like a bitchI hate you fuckin bitchWe’ll kill you bitch.... Do I really need to say anything?
Now I don’t even need to know what you wrote (magic!) because you must have mentioned Dr. Dre, Snoop Dogg, Ice Cube and either Warren G and DJ Quik or Eazy E or maybe even the Dogg Pound. Either way of the 5 biggest stars from that era, an era that is keep in mind over a decade (that’s ten years) old, at least 3 of those names are not only still HUGE stars but one of them practically runs the rap game, more so than he did back in his prime (I think we know who I referring to). And Snoop has never fallen short of a platinum plaque since his g-funk debut As of now 2006 he’s essentially keeping the entire west coast relevant. As for Cube, well he is without a doubt the biggest rapper/actor in history, and even when he comes back to rap after a 5 year hiatus he can still sell half a million. DJ Quik is to this day considered one of the best producers in the game still being asked to produce records for the best and Eazy E is dead. As for Daz, Kurupt and Warren G they don’t have the same level of success but they are by no means washed up or broke. Going gold or selling +100,000 copies is far from doing bad, in fact it’s better than the majority of rap artists do now. So if you don’t call that type of success “history being kind to g-funk artists” you don’t know the meaning of the word.I don’t know what type of g-funk music they played on the radio in the asylum you grew up in, but for the rest of us living on the outside of institutions the biggest hits came from Dre’s “Chronic”, Snoop’s “Doggystyle”, Cube’s “Predator” and “Lethal Injection” and probably Warren G’s “Regulate… G funk Era.” Even the influenced records from the East coast like “Big Poppa” now, are you really trying to tell me and everyone else reading this thread that not only 1) those records aren’t still played on the radio today and 2) those records aren’t remembered?
Quote from: Sikotic: Mr. Money In The Bank on October 31, 2006, 12:21:54 AMCan you really claim G-Funk is THAT creative when they do more sampling than Crunk.West Coast Forum LOL!
Doggystyle, Dogg Food, The Chronic, etc. had NOTHING intellectual on them. DO NOT front. The songs were NOT complex. Just becuase Kurupt put "big" words together, doesn't make it complex. What you did was find the most notable Kurupt verse, that you knew people would agree with, and posted it. You know as well as anyone that G-Funk was and still nothing but a bunch of street dudes over sampled 70s and 80s Funk & R&B records. Disagree? Let's look at: South Central Cartel, Daz, Kill Kill, Warren G, MC Eiht, The Twinz... These guys did NOT make complex music, yet they're some of the favorites among G-Funk fans. So yeah... You're basically bad mouthing the same thing you're supporting. The only difference is that it's packaged as Southern music, which you obviously do not like.Delusional? You're avoiding the facts. Nobody strayed off topic. Your support of G-Funk was perfectly relateable to the debate, as they're nearly the same essence. Let's be real, since we're being "delusional." How many G-Funk artists are relevent today? Snoop? Dre? Yeah... That's it. Kurupt, Daz etc. they're not relevent in the grand scheme of things. So, if history had been kind to G-Funk, wouldn't they be relevent today? What was so creative about G-Funk that people like Erick Sermon didn't do before them? Nothing. If it had been done before, it wasn't creative. So, historically, factually and commonly understood: You're facts are inaccurate. Cube was far from G-Funk. Cmon, he was fuckin' with the Bomb Squad. Sure he made some G-Funk tracks here and there, but he was hardly a G-Funk artist (if you consider him G-Funk, then Snoop will be considered Crunk and then your arguement is all fucked up). So yeah, Snoop and Dre is the only artists you can talk about today.G-Funk influenced a dude like Easy Mo Bee... But to be real, Erick Sermon influenced G-Funk (That's why DJ Quik shows love to him). Again, not as creative as you think. Not only that, but the "big" G-Funk records all can be traced back to either Snoop or Dre with ease. We all agree Snoop and Dre are still known today, but like I stated earlier, are the others? No. So yeah... who's really delusional? The person who thinks because Snoop or Dre are the only artists from the G-Funk era who are still relevent, that History has been "kind" to G-Funk? Or the people who think History has been very kind to Crunk as it's artists have been around for 10 years and are still relevent today.Disagree?8 Ball & MJG - Debut in 93. Still making hits in 06.David Banner - Debut in 99 (under Crooked Lettaz). Still making hits in 06. Lil Jon & The East Side Boyz - Debut in 97. Still making hits in 06. Three 6 Mafia - Debut in 95. Still making hits in 06.Youngbloodz - Debut in 99. Still making hits in 06.I can go on. What happened to Warren G after 7 years? He was a non-factor in Hip Hop. The same can be said about every G-Funk artists except for Dre and Snoop. But, look at the "Crunk" artists I listed. Been out 7 years or longer and are still making major noise in the Hip Hop world. So, you tell me, who has History been kinder to? Just off the list alone: 5-2 in favor of Crunk.
Please, don’t try to bate me into some waste-of-everyone’s-time battle over record sales. The back street boys have been around even longer so has techno music and easy listening music beats them all. Let’s not forget Milli Vanilli who’ve sold ten million records. And so on, it means absolutely nothing.
Music is accurately judged by, and remembered for: its creativity, its ability to transfer information, feeling and/or message and its overall impact on music as a whole. When I say history has been good to g-funk I’m talking not only about the success that the biggest names in g-funk continue to have MORE than a decade later, I’m also talking about g-funk’s place in music and history.
G-funk changed the way gangster rap was made forever and hi-jacked all of hip-hop for the better part of half a decade. Crunk music only changed the way club music is made in hip-hop. G-funk was dynamic, you could play it in a club, or feel it and think about it or relax to it. Crunk music isn’t, it is only music for clubs. G-funk was authentic, by that I mean it was something you couldn’t imitate. There are dozens of artists who tried to jump on the g-funk bandwagon when it was popular and it never worked, for some of them it destroyed their careers (see Mc Hammer). Anyone, I repeat anyone can make an “authentic” Crunk record, they’re ubiquitous in modern day hip-hop and R&B. Name me one artist who tried to make a Crunk record and it ruined them?
What it all boils down to is Crunk music: 1) Lacks authenticity, virtually anyone can make it and be successful.2) Is composed of simple, repetitive lyrics and instrumentation purposely and carefully designed to prevent distraction by mental stimulation, active cognition or emotional involvement. 3) Seriously lacks the dynamic nature of other genres. 4) Is most comparable in this regard to disco, dance pop music, techno and easy listening.
If you want to call Crunk equivalent to g-funk fine I don’t care. While you’re at it eat toothpaste and throw things at the other people in your asylum. It is a poor comparison and only a dimwitted person couldn’t see that.
Now, I’m not on trial here, nor do I poses the mental fortitude to explore the depths of insanity with you by answering every one of your misguided attempts to make you and your friends look less retarded so quickly let me address some of your brain farts.
(1) Cube on g-funk-Ice Cube was absolutely one of the biggest selling g-funk artists. He adopted the g-funk sound on Predator through Lethal injection and it carried on to Westside Connection. Don’t try to bullshit here and say he made “a g-funk track here and there” have you ever even listened to Lethal Injection? The entire album is g-funk. Cube is the most successful non Death Row signed promulgator of the g-funk sound next to Warren G, intentionally or otherwise. Evidently you don’t see the alarming hierocracy in denying Ice Cube’s place as a supporting character in g-funk yet 8 Ball & MJG and Young bloodz can all be your principal representatives for Crunk music when you know damn well (just like everyone else does), that they didn’t start their music careers “Crunk.”
(2) Asinine assertion that 15 years of relevance and success in hip hop isn’t actually success- This one is starting to really trouble me; I just want you guys to know that I worry for you. Let’s just make this cut and dry and not argue the gradation of fame and success. It’s been 15 years since g-funk started. Bottom line: g-funk’s biggest stars are still some of the biggest stars in hip-hop fifteen (15) years after the fact. You guys keep mentioning the lesser known g-funk one hit wonders as if their absence from the current hip-hop climate somehow indicates the entire genre was worthless. By that rational the original pioneers of hip hop were talent less hacks because CD III wasn’t smashing the game during the 90’s and “Get Tough” isn’t on the radio twenty four seven. Virtually every successful artist from the g-funk period has maintained a level of success and relevance to this date (an achievement unprecedented in hip-hop mind you), end of discussion.
(3) Doggysyle, Chronic and Dogg Food not being intelligent-We agree, I’ve said I don’t believe the records are intelligent so I don’t know who you are tying to argue this point to. What I did say however is that those albums exhibited high musical complexity, innovation and lyrical content capable of evoking emotions running the gamut from happiness to anger and attraction to fear. Those records rustled a lot of feathers when they came out (see Dan Quale, C. Deloris Tucker, store protests, Congressional hearing etc.) and it wasn’t because the music wasn’t saying anything. Truthfully I think Crunk music is probably more offensive in content but the reality is no one cares because you’re not suppose to actually “listen” to the words anyways. In Crunk words are just silly little things that you use to combine vowels so you can create mind numbing melodies and loud noises the sole purpose of which is to keep you dancing and not thinking, feeling or otherwise taking an active part in the experience.