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I'd argue this track out of New York the year before Chronic came out does a better job representing Compton life than anything on Deathrow ever did.It's a much better track and much "realer", and it never broke the mainstream. There was no charasmatic lead vocalist to make it sound pop, and no easy to listen to sample to carry the track. And the lyrics were too realistic and depressing to ever break through.
Quote from: Shallow on September 08, 2009, 10:24:47 PMI'd argue this track out of New York the year before Chronic came out does a better job representing Compton life than anything on Deathrow ever did.It's a much better track and much "realer", and it never broke the mainstream. There was no charasmatic lead vocalist to make it sound pop, and no easy to listen to sample to carry the track. And the lyrics were too realistic and depressing to ever break through.I'd take Lil Ghetto boy over that tune any day!
Quote from: Shallow on September 08, 2009, 10:24:47 PMQuote from: Infinite... the cognitive dissonance theory on September 08, 2009, 08:15:43 PMQuote from: Shallow on September 08, 2009, 07:39:10 PMEvery form of art accurately represents something and misrepresents something when it tackles such a broad subject as a lifestyle. It's neither fake or real. It just is. Whether it's good or bad can debated with me. I just don't get the point in equating good with "real".Yeah... you know what... you are so right! Hey man, too bad somebody like you wasn't around to tell Dr. Dre this before he made the album the Chronic, he could have avoided massive failure, and put a disclaimer in the liner notes that said "All references to 'keeping it real' are relative only to certain groups of people, and should not in any way be taken as the reality of all people of all walks of life".What are you talking about? I never said Chronic was a bad album and needed to be more real. It's agreat album and the character he plays in the album is representative of a certain culture. But let's not be foolish. Dre was in it for the cash. Just like Suge was. They played characters. In Suge's case life ended up imitating art and he paid the price for that. Neither of these guys were real spokesmen for the streets, ever. They exploited the struggles of the ghetto for profit, all the while romanticizing it for mass appeal. They sold their phony representation of Compton life to the white suburbs and made a lot of cash doing it. No one in the mainstream market wanted to hear about real every day problems of young black men in the ghetto. They wanted gangland tales of bravado filled mass murderers and women treated worse than property.I'd argue this track out of New York the year before Chronic came out does a better job representing Compton life than anything on Deathrow ever did.It's a much better track and much "realer", and it never broke the mainstream. There was no charasmatic lead vocalist to make it sound pop, and no easy to listen to sample to carry the track. And the lyrics were too realistic and depressing to ever break through.Dre sold out just like Hammer did, and that's why he sold all those records.You can change these lyrics slightly like I did and it would easily fit on Doggiestyle.I'm on a roll and it's time to go soloRollin in my 5.0With my ragtop down so my hair can blowThe bitches on standbyWaving just to say HIDid you stop?No--I just drove byKept on pursuing to the next stopI bust a left and I'm heading to the next blockThat block was deadYo--so I continued to A1A Beachfront Ave.Bitches were hot wearing less than bikinisRockman lovers driving LamborghinisJealous 'cause I'm out getting mineSnoop with a guage and Kurupt with a nineReading for the chumps on the wallThe Chumps are acting ill because they're so full of eight ballsGunshots ranged out like a bellI grabbed my nine--All I heard were shellsFallin on the concrete real fastJumped in my car, slammed on the gasBumper to bumper the avenue's packedI'm tryin to get away before the jackers jackPolice on the sceneYou know what I meanThey passed me up, confronted all the dope fiendsIf there was a problemYo, I'll solve itCheck out the hook while my Dr Dre revolves itoh shut up man, you're acting like Dr.Dre is some sort of evil 19th century capitalist type Dre is not just in it for the money, but also for the art.yes he crossed over with NWA, but you make it sound like it's a bad thing to bridge the gap between underground and mainstream
Quote from: Infinite... the cognitive dissonance theory on September 08, 2009, 08:15:43 PMQuote from: Shallow on September 08, 2009, 07:39:10 PMEvery form of art accurately represents something and misrepresents something when it tackles such a broad subject as a lifestyle. It's neither fake or real. It just is. Whether it's good or bad can debated with me. I just don't get the point in equating good with "real".Yeah... you know what... you are so right! Hey man, too bad somebody like you wasn't around to tell Dr. Dre this before he made the album the Chronic, he could have avoided massive failure, and put a disclaimer in the liner notes that said "All references to 'keeping it real' are relative only to certain groups of people, and should not in any way be taken as the reality of all people of all walks of life".What are you talking about? I never said Chronic was a bad album and needed to be more real. It's agreat album and the character he plays in the album is representative of a certain culture. But let's not be foolish. Dre was in it for the cash. Just like Suge was. They played characters. In Suge's case life ended up imitating art and he paid the price for that. Neither of these guys were real spokesmen for the streets, ever. They exploited the struggles of the ghetto for profit, all the while romanticizing it for mass appeal. They sold their phony representation of Compton life to the white suburbs and made a lot of cash doing it. No one in the mainstream market wanted to hear about real every day problems of young black men in the ghetto. They wanted gangland tales of bravado filled mass murderers and women treated worse than property.I'd argue this track out of New York the year before Chronic came out does a better job representing Compton life than anything on Deathrow ever did.It's a much better track and much "realer", and it never broke the mainstream. There was no charasmatic lead vocalist to make it sound pop, and no easy to listen to sample to carry the track. And the lyrics were too realistic and depressing to ever break through.Dre sold out just like Hammer did, and that's why he sold all those records.You can change these lyrics slightly like I did and it would easily fit on Doggiestyle.I'm on a roll and it's time to go soloRollin in my 5.0With my ragtop down so my hair can blowThe bitches on standbyWaving just to say HIDid you stop?No--I just drove byKept on pursuing to the next stopI bust a left and I'm heading to the next blockThat block was deadYo--so I continued to A1A Beachfront Ave.Bitches were hot wearing less than bikinisRockman lovers driving LamborghinisJealous 'cause I'm out getting mineSnoop with a guage and Kurupt with a nineReading for the chumps on the wallThe Chumps are acting ill because they're so full of eight ballsGunshots ranged out like a bellI grabbed my nine--All I heard were shellsFallin on the concrete real fastJumped in my car, slammed on the gasBumper to bumper the avenue's packedI'm tryin to get away before the jackers jackPolice on the sceneYou know what I meanThey passed me up, confronted all the dope fiendsIf there was a problemYo, I'll solve itCheck out the hook while my Dr Dre revolves it
Quote from: Shallow on September 08, 2009, 07:39:10 PMEvery form of art accurately represents something and misrepresents something when it tackles such a broad subject as a lifestyle. It's neither fake or real. It just is. Whether it's good or bad can debated with me. I just don't get the point in equating good with "real".Yeah... you know what... you are so right! Hey man, too bad somebody like you wasn't around to tell Dr. Dre this before he made the album the Chronic, he could have avoided massive failure, and put a disclaimer in the liner notes that said "All references to 'keeping it real' are relative only to certain groups of people, and should not in any way be taken as the reality of all people of all walks of life".
Every form of art accurately represents something and misrepresents something when it tackles such a broad subject as a lifestyle. It's neither fake or real. It just is. Whether it's good or bad can debated with me. I just don't get the point in equating good with "real".
Quote from: From Dre-Day to Helter Skelter on September 09, 2009, 12:44:33 AMQuote from: Shallow on September 08, 2009, 10:24:47 PMQuote from: Infinite... the cognitive dissonance theory on September 08, 2009, 08:15:43 PMQuote from: Shallow on September 08, 2009, 07:39:10 PMEvery form of art accurately represents something and misrepresents something when it tackles such a broad subject as a lifestyle. It's neither fake or real. It just is. Whether it's good or bad can debated with me. I just don't get the point in equating good with "real".Yeah... you know what... you are so right! Hey man, too bad somebody like you wasn't around to tell Dr. Dre this before he made the album the Chronic, he could have avoided massive failure, and put a disclaimer in the liner notes that said "All references to 'keeping it real' are relative only to certain groups of people, and should not in any way be taken as the reality of all people of all walks of life".What are you talking about? I never said Chronic was a bad album and needed to be more real. It's agreat album and the character he plays in the album is representative of a certain culture. But let's not be foolish. Dre was in it for the cash. Just like Suge was. They played characters. In Suge's case life ended up imitating art and he paid the price for that. Neither of these guys were real spokesmen for the streets, ever. They exploited the struggles of the ghetto for profit, all the while romanticizing it for mass appeal. They sold their phony representation of Compton life to the white suburbs and made a lot of cash doing it. No one in the mainstream market wanted to hear about real every day problems of young black men in the ghetto. They wanted gangland tales of bravado filled mass murderers and women treated worse than property.I'd argue this track out of New York the year before Chronic came out does a better job representing Compton life than anything on Deathrow ever did.It's a much better track and much "realer", and it never broke the mainstream. There was no charasmatic lead vocalist to make it sound pop, and no easy to listen to sample to carry the track. And the lyrics were too realistic and depressing to ever break through.Dre sold out just like Hammer did, and that's why he sold all those records.You can change these lyrics slightly like I did and it would easily fit on Doggiestyle.I'm on a roll and it's time to go soloRollin in my 5.0With my ragtop down so my hair can blowThe bitches on standbyWaving just to say HIDid you stop?No--I just drove byKept on pursuing to the next stopI bust a left and I'm heading to the next blockThat block was deadYo--so I continued to A1A Beachfront Ave.Bitches were hot wearing less than bikinisRockman lovers driving LamborghinisJealous 'cause I'm out getting mineSnoop with a guage and Kurupt with a nineReading for the chumps on the wallThe Chumps are acting ill because they're so full of eight ballsGunshots ranged out like a bellI grabbed my nine--All I heard were shellsFallin on the concrete real fastJumped in my car, slammed on the gasBumper to bumper the avenue's packedI'm tryin to get away before the jackers jackPolice on the sceneYou know what I meanThey passed me up, confronted all the dope fiendsIf there was a problemYo, I'll solve itCheck out the hook while my Dr Dre revolves itoh shut up man, you're acting like Dr.Dre is some sort of evil 19th century capitalist type Dre is not just in it for the money, but also for the art.yes he crossed over with NWA, but you make it sound like it's a bad thing to bridge the gap between underground and mainstreamI'm not making it sound like anything. Hammer was in it for the art too. So were the fucking Beastie Boys when they recorded Fight For Your Right to Party. And there is nothing wrong with walking the mainstream line. I never said there was. Infinite did. I'm just showing that Dre made a lot of changes in his style to sell himself to the mass market. Guru on the other hand probably acts almost exactly the same on record as he does in real life. That is not why I think Guru is better, or why I think Just to get a Rep is better than Lil Ghetto Boy. What's "realer" is not the issue for me.