West Coast Connection Forum
DUBCC - Tha Connection => West Coast Connection => Topic started by: abusive on June 29, 2024, 08:46:39 AM
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Real good :ohmy:
https://www.youtube.com/watch?v=ewpNHIgkpQs
DRE DAY
In this episode, Suge responds to podcast fans who have asked him to go through each person that was a key part of Death Row Records and give his rundown on the good and bad about each. First up, Dr. Dre. Suge talks us back to the early days of meeting Dre when he was signed to Eazy E and Jerry Heller’s Ruthless Records. Suge talks about the soundtrack to the movie “Deep Cover,” and how much of an important role it played in getting Death Row off the ground. Suge commends Dre for not running off when the war between Ruthless and Death Row got going. Suge talks about the challenges for many in the music industry that lead a double life and how challenging it was for Suge himself to manage and grow a business in this environment.
Suge goes into Dr. Dre’s history of beating women, comparing it to the situation with Diddy and Cassie. Suge continues to point out the powers that be at the major record labels and their role in creating and supporting these types of activities. In a special epilogue to this episode, Suge provides a graphic detailing of Dr. Dre’s brutal 1991 attack on Fox TV video show host Dee Barnes. Despite gag orders for all parties that came with a legal settlement made at the time, Dr. Dre would later re-hash his violent attack on Ms. Barnes in the Eminem song “Guilty Conscience,” where the Dre and Eminem make fun of what happened. Finally, Suge reveals never-before-heard details he learned from Barnes’ husband Ricky Harris shortly before his death in 2016.
This episode is sponsored by Earnin. Download Earnin today in the Google Play or Apple app store. Type in “Collect Call” under podcast when you sign up.
This episode is sponsored by Home Chef. For 18 free meals, free shipping and free dessert for life,go to https://HomeChef.com/Suge for details.
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NEW EPISODES OF COLLECT CALL WITH SUGE KNIGHT ARE RELEASED WEEKLY
Executive Producer: Brett Jeffries (@igobybrettj)
Executive Producer: Toi-Lin Kelly
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IG: @BreakbeatMedia @OfficialSugeKnight @CollectCallWithSugeKnight
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20 episodes deep, is this guy ever gonna talk about anything else besides Dre, Snoop, and Pac? Geez he has such a hard on for these guys. This podcast has so much potential but just rehashes the same stuff we’ve heard the past 20 years.
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20 episodes deep, is this guy ever gonna talk about anything else besides Dre, Snoop, and Pac? Geez he has such a hard on for these guys. This podcast has so much potential but just rehashes the same stuff we’ve heard the past 20 years.
what u want him to talk about? his football days wit RBX??
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20 episodes deep, is this guy ever gonna talk about anything else besides Dre, Snoop, and Pac? Geez he has such a hard on for these guys. This podcast has so much potential but just rehashes the same stuff we’ve heard the past 20 years.
What potential? What has Suge accomplished in this world that's not the direct result of Dre, Snoop, and Pac? He has nothing.
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what u want him to talk about? his football days wit RBX??
Yeah, i'd love for him to talk about RBX, why wasn't he signed, why no album. How'd he know RBX and linked up with him. What happened with OFTB's album, literally was getting pressed and stopped at the last minute. Same thing with Nate Dogg, what happened with that. How was Nate able to leave with his masters and release his own version of his Death Row album? How involved was J.FLexx and Sam Sneed with later production at Death Row. What was the deal with DJ Quik? How many albums did he truly mix under the table? Was he actually signed to The Row as D.Blake while at the same time being signed as DJ QUIK over at Profile/Arista? Where did Top Dogg come from? Was he from someone's crew? Did you specifically go looking for a Snoop soundalike? How did he cross your radar? What was the relationship like with Tha Realest and his crew, why did no album materialize? All the details of Kurupt resigning with the Row and becoming VP and starting the DPG feud. What were the negotiations like, who started that. That would be a fascinating episode in and of itself. How did Left Eye end up getting signed? How deep was he into opening the Death Row East label, his Rock N Roll label, Jazz label, etc. Pac said he was close to working with Alanis Moresette and other non rap people at the time of the Gridlock'd Soundtrack. Did Suge have any conversations or negotiations with any big time alternative artists that might surprise us. I'd still like to know how he was able to sample Dre's "Fuck You" song from Chronic 2001 on the TG4R soundtrack. Did he just do it without even bothering clearing the sample? No way Dre would've approved it. What was the whole deal with Crooked I's start/stop promotion during his whole time there. Give some insight into stealing the Chronic 2000 name before Dre had the chance to release his version, forcing him to change the name.
He's got at least several months of episodes based on those things alone. The 97-2000 Death Row era is fascinating and rarely talked about in depth. This podcast could be so good and be a gold mine for true Death Row fans.
But no, it's the same old BS, who killed 2Pac, Dre stole credit, he's gay, Snoop sucks. Like come on dude, we know you are jealous their success. Now move on and talk about other things that true Death Row fans want to know about.
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Yeah, i'd love for him to talk about RBX, why wasn't he signed, why no album. How'd he know RBX and linked up with him. What happened with OFTB's album, literally was getting pressed and stopped at the last minute. Same thing with Nate Dogg, what happened with that. How was Nate able to leave with his masters and release his own version of his Death Row album? How involved was J.FLexx and Sam Sneed with later production at Death Row. What was the deal with DJ Quik? How many albums did he truly mix under the table? Was he actually signed to The Row as D.Blake while at the same time being signed as DJ QUIK over at Profile/Arista? Where did Top Dogg come from? Was he from someone's crew? Did you specifically go looking for a Snoop soundalike? How did he cross your radar? What was the relationship like with Tha Realest and his crew, why did no album materialize? All the details of Kurupt resigning with the Row and becoming VP and starting the DPG feud. What were the negotiations like, who started that. That would be a fascinating episode in and of itself. How did Left Eye end up getting signed? How deep was he into opening the Death Row East label, his Rock N Roll label, Jazz label, etc. Pac said he was close to working with Alanis Moresette and other non rap people at the time of the Gridlock'd Soundtrack. Did Suge have any conversations or negotiations with any big time alternative artists that might surprise us. I'd still like to know how he was able to sample Dre's "Fuck You" song from Chronic 2001 on the TG4R soundtrack. Did he just do it without even bothering clearing the sample? No way Dre would've approved it. What was the whole deal with Crooked I's start/stop promotion during his whole time there. Give some insight into stealing the Chronic 2000 name before Dre had the chance to release his version, forcing him to change the name.
He's got at least several months of episodes based on those things alone. The 97-2000 Death Row era is fascinating and rarely talked about in depth. This podcast could be so good and be a gold mine for true Death Row fans.
But no, it's the same old BS, who killed 2Pac, Dre stole credit, he's gay, Snoop sucks. Like come on dude, we know you are jealous their success. Now move on and talk about other things that true Death Row fans want to know about.
haha…actually some pretty good questions here…
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Yeah, i'd love for him to talk about RBX, why wasn't he signed, why no album. How'd he know RBX and linked up with him. What happened with OFTB's album, literally was getting pressed and stopped at the last minute. Same thing with Nate Dogg, what happened with that. How was Nate able to leave with his masters and release his own version of his Death Row album? How involved was J.FLexx and Sam Sneed with later production at Death Row. What was the deal with DJ Quik? How many albums did he truly mix under the table? Was he actually signed to The Row as D.Blake while at the same time being signed as DJ QUIK over at Profile/Arista? Where did Top Dogg come from? Was he from someone's crew? Did you specifically go looking for a Snoop soundalike? How did he cross your radar? What was the relationship like with Tha Realest and his crew, why did no album materialize? All the details of Kurupt resigning with the Row and becoming VP and starting the DPG feud. What were the negotiations like, who started that. That would be a fascinating episode in and of itself. How did Left Eye end up getting signed? How deep was he into opening the Death Row East label, his Rock N Roll label, Jazz label, etc. Pac said he was close to working with Alanis Moresette and other non rap people at the time of the Gridlock'd Soundtrack. Did Suge have any conversations or negotiations with any big time alternative artists that might surprise us. I'd still like to know how he was able to sample Dre's "Fuck You" song from Chronic 2001 on the TG4R soundtrack. Did he just do it without even bothering clearing the sample? No way Dre would've approved it. What was the whole deal with Crooked I's start/stop promotion during his whole time there. Give some insight into stealing the Chronic 2000 name before Dre had the chance to release his version, forcing him to change the name.
He's got at least several months of episodes based on those things alone. The 97-2000 Death Row era is fascinating and rarely talked about in depth. This podcast could be so good and be a gold mine for true Death Row fans.
But no, it's the same old BS, who killed 2Pac, Dre stole credit, he's gay, Snoop sucks. Like come on dude, we know you are jealous their success. Now move on and talk about other things that true Death Row fans want to know about.
He won’t talk about all that because those won’t give him the attention he’s seeking.
He would rather remix same old stories again and again, it’s sad really but hey 🤷🏽♂️
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Suge sounds like that bitter ex who got ditched and never got over it 😂😭 that man is almost 60 y/o and is still badmouthing each and every former artist to this day, never takes any responsibility for his actions or admits to any mistakes he's made. Fuckin' pathetic, smh...
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Yeah, i'd love for him to talk about RBX, why wasn't he signed, why no album. How'd he know RBX and linked up with him. What happened with OFTB's album, literally was getting pressed and stopped at the last minute. Same thing with Nate Dogg, what happened with that. How was Nate able to leave with his masters and release his own version of his Death Row album? How involved was J.FLexx and Sam Sneed with later production at Death Row. What was the deal with DJ Quik? How many albums did he truly mix under the table? Was he actually signed to The Row as D.Blake while at the same time being signed as DJ QUIK over at Profile/Arista? Where did Top Dogg come from? Was he from someone's crew? Did you specifically go looking for a Snoop soundalike? How did he cross your radar? What was the relationship like with Tha Realest and his crew, why did no album materialize? All the details of Kurupt resigning with the Row and becoming VP and starting the DPG feud. What were the negotiations like, who started that. That would be a fascinating episode in and of itself. How did Left Eye end up getting signed? How deep was he into opening the Death Row East label, his Rock N Roll label, Jazz label, etc. Pac said he was close to working with Alanis Moresette and other non rap people at the time of the Gridlock'd Soundtrack. Did Suge have any conversations or negotiations with any big time alternative artists that might surprise us. I'd still like to know how he was able to sample Dre's "Fuck You" song from Chronic 2001 on the TG4R soundtrack. Did he just do it without even bothering clearing the sample? No way Dre would've approved it. What was the whole deal with Crooked I's start/stop promotion during his whole time there. Give some insight into stealing the Chronic 2000 name before Dre had the chance to release his version, forcing him to change the name.
He's got at least several months of episodes based on those things alone. The 97-2000 Death Row era is fascinating and rarely talked about in depth. This podcast could be so good and be a gold mine for true Death Row fans.
But no, it's the same old BS, who killed 2Pac, Dre stole credit, he's gay, Snoop sucks. Like come on dude, we know you are jealous their success. Now move on and talk about other things that true Death Row fans want to know about.
unfortunately no one really cares about this stuff outside of the members of this website
and even here, only a handful of the people would actually give it a listen
you care about rbx, sam sneed, oftb? u wont even check rbx new album .. not even when it’s free
these things gota be sold… they don’t sell themselves no more
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Yeah, i'd love for him to talk about RBX, why wasn't he signed, why no album. How'd he know RBX and linked up with him. What happened with OFTB's album, literally was getting pressed and stopped at the last minute. Same thing with Nate Dogg, what happened with that. How was Nate able to leave with his masters and release his own version of his Death Row album? How involved was J.FLexx and Sam Sneed with later production at Death Row. What was the deal with DJ Quik? How many albums did he truly mix under the table? Was he actually signed to The Row as D.Blake while at the same time being signed as DJ QUIK over at Profile/Arista? Where did Top Dogg come from? Was he from someone's crew? Did you specifically go looking for a Snoop soundalike? How did he cross your radar? What was the relationship like with Tha Realest and his crew, why did no album materialize? All the details of Kurupt resigning with the Row and becoming VP and starting the DPG feud. What were the negotiations like, who started that. That would be a fascinating episode in and of itself. How did Left Eye end up getting signed? How deep was he into opening the Death Row East label, his Rock N Roll label, Jazz label, etc. Pac said he was close to working with Alanis Moresette and other non rap people at the time of the Gridlock'd Soundtrack. Did Suge have any conversations or negotiations with any big time alternative artists that might surprise us. I'd still like to know how he was able to sample Dre's "Fuck You" song from Chronic 2001 on the TG4R soundtrack. Did he just do it without even bothering clearing the sample? No way Dre would've approved it. What was the whole deal with Crooked I's start/stop promotion during his whole time there. Give some insight into stealing the Chronic 2000 name before Dre had the chance to release his version, forcing him to change the name.
He's got at least several months of episodes based on those things alone. The 97-2000 Death Row era is fascinating and rarely talked about in depth. This podcast could be so good and be a gold mine for true Death Row fans.
But no, it's the same old BS, who killed 2Pac, Dre stole credit, he's gay, Snoop sucks. Like come on dude, we know you are jealous their success. Now move on and talk about other things that true Death Row fans want to know about.
All really good questions - plus why wasn't the 2nd II None album released, any further insight into why Warren G wasn't signed on day 1, what was the deal / how far did recording get with the Dre/Cube reunion album, Heltah Skeltah, is it true that Craig Mack was due to be signed etc etc
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what u want him to talk about? his football days wit RBX??
Actually that would be interesting
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What potential? What has Suge accomplished in this world that's not the direct result of Dre, Snoop, and Pac? He has nothing.
It’s kind of true.
It’s one of the great “what ifs” of hiphop history—alternate universe. What if Dre really was owner and founder of Death Row like everyone thought he was. Remember Nate Dogg was in that interview with MTV saying it wasn’t until Dre left in Spring 96 that, “I guess that’s when we found out Dre didn’t really own it the way we thought he did.”
Everyone forgets except for me and folks like HighEyeCue that were old enough at the time, we knew Suge was like a CEO and part owner but just like Nate Dogg we still thought Dre was the head man. Like 51% share of company at least or more, or even at 50/50 that Dre still had some clause that Suge had to answer to him.
Everyone forgets it was a surprise to find out that Suge actually had more legal leverage with the label than Dre did.
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It’s kind of true.
It’s one of the great “what ifs” of hiphop history—alternate universe. What if Dre really was owner and founder of Death Row like everyone thought he was. Remember Nate Dogg was in that interview with MTV saying it wasn’t until Dre left in Spring 96 that, “I guess that’s when we found out Dre didn’t really own it the way we thought he did.”
Everyone forgets except for me and folks like HighEyeCue that were old enough at the time, we knew Suge was like a CEO and part owner but just like Nate Dogg we still thought Dre was the head man. Like 51% share of company at least or more, or even at 50/50 that Dre still had some clause that Suge had to answer to him.
Everyone forgets it was a surprise to find out that Suge actually had more legal leverage with the label than Dre did.
Didn’t Dre have a big part of ownership but it was Suge strong arming him out of it? I think the Nate Dogg interview you’re talking about is from the Welcome to Deathrow documentary.
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unfortunately no one really cares about this stuff outside of the members of this website
and even here, only a handful of the people would actually give it a listen
you care about rbx, sam sneed, oftb? u wont even check rbx new album .. not even when it’s free
these things gota be sold… they don’t sell themselves no more
I did check your RBX album, i already told you that, i wasn't feeling it. I spared you a negative review and critique because i respect that you tried to put the homie back up, just not in the way i would have gone about doing it. Way too many guest appearances, the same ahem individual putting himself on 3 or 4 tracks, sounded more like a compilation than an RBX album. I just personally wasn't feeling it. Nothing wrong with that is there? Doesn't mean i didn't peep it. As I said in a prior post, i'm not going to blindly buy an album just because it's someone from the old West. There were lots of Daz albums I didn't buy, doesn't mean i don't like the guy. If an album is good, i'll buy it, if it's not, I won't. Accept the fact that not everyone here is going to enjoy it, doesn't mean we aren't westcoast rap fans or supporters. The more an album is forced and pushed and prodded for people to buy, the more it feels like it can't stand on it's own merit. Insinuating people aren't fans and supporters if we don't buy your album is not a great marketing strategy.
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It’s kind of true.
It’s one of the great “what ifs” of hiphop history—alternate universe. What if Dre really was owner and founder of Death Row like everyone thought he was. Remember Nate Dogg was in that interview with MTV saying it wasn’t until Dre left in Spring 96 that, “I guess that’s when we found out Dre didn’t really own it the way we thought he did.”
Everyone forgets except for me and folks like HighEyeCue that were old enough at the time, we knew Suge was like a CEO and part owner but just like Nate Dogg we still thought Dre was the head man. Like 51% share of company at least or more, or even at 50/50 that Dre still had some clause that Suge had to answer to him.
Everyone forgets it was a surprise to find out that Suge actually had more legal leverage with the label than Dre did.
I genuinely agree with this too, it was told to the media and fans that Dr Dre is 50% because we know who Dr Dre is and not sure knight but behind the scenes...suge was always 100% full owner
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I did check your RBX album, i already told you that, i wasn't feeling it. I spared you a negative review and critique because i respect that you tried to put the homie back up, just not in the way i would have gone about doing it. Way too many guest appearances, the same ahem individual putting himself on 3 or 4 tracks, sounded more like a compilation than an RBX album. I just personally wasn't feeling it. Nothing wrong with that is there? Doesn't mean i didn't peep it. As I said in a prior post, i'm not going to blindly buy an album just because it's someone from the old West. There were lots of Daz albums I didn't buy, doesn't mean i don't like the guy. If an album is good, i'll buy it, if it's not, I won't. Accept the fact that not everyone here is going to enjoy it, doesn't mean we aren't westcoast rap fans or supporters. The more an album is forced and pushed and prodded for people to buy, the more it feels like it can't stand on it's own merit. Insinuating people aren't fans and supporters if we don't buy your album is not a great marketing strategy.
the bigger point here is that most people don’t care about the info u care about …. so if suge knight talks about those things, his videos will get about a tenth of the hits they do now…. and didn’t see you ever say u checked the album so i assumed u didn’t bother. i only remember u sayin u liked let’s ride when the single dropped…. but more importantly, the general hip-hop consumer no longer cares about these releases. if sam sneed dropped an album today, whether it be a masterpiece or not.. that shits not selling unless he physically goes out and sells it himself. these artists u mention simply dont generate hits.
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Actually that would be interesting
it really would.. but unfortunately no one cares
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the bigger point here is that most people don’t care about the info u care about …. so if suge knight talks about those things, his videos will get about a tenth of the hits they do now…. and didn’t see you ever say u checked the album so i assumed u didn’t bother. i only remember u sayin u liked let’s ride when the single dropped…. but more importantly, the general hip-hop consumer no longer cares about these releases. if sam sneed dropped an album today, whether it be a masterpiece or not.. that shits not selling unless he physically goes out and sells it himself. these artists u mention simply dont generate hits.
That's very true. Most of these artists who have been around 30+ years, their time in the sun is over and it's someone else's turn to shine. At this stage in the game, peeps like RBX, Sam Sneed, J-Flexx, etc. They are releasing albums because they enjoy the art and want to make music. You were close to RBX, i think even he didn't think this new album was going to go multiplatinum and become a mainstream success. I'm sure it was a fun little project for him, probably made a little bit of scratch and that's it. These guys can't stay on top forever. That's why, hate him or love him, it's very impressive for a guy like Snoop or Dre to still be relevant after all this time. You have timeless individuals in all forms of music, but they are far and few between. It's not a knock on the general hip hop consumer, but people move on and find new artists to follow and like as they grow and their music interests and subject matter changes. Even cats like DJ Quik and Ice Cube who i've always viewed as timeless don't move numbers anymore. Same thing with Bone.
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That's very true. Most of these artists who have been around 30+ years, their time in the sun is over and it's someone else's turn to shine. At this stage in the game, peeps like RBX, Sam Sneed, J-Flexx, etc. They are releasing albums because they enjoy the art and want to make music. You were close to RBX, i think even he didn't think this new album was going to go multiplatinum and become a mainstream success. I'm sure it was a fun little project for him, probably made a little bit of scratch and that's it. These guys can't stay on top forever. That's why, hate him or love him, it's very impressive for a guy like Snoop or Dre to still be relevant after all this time. You have timeless individuals in all forms of music, but they are far and few between. It's not a knock on the general hip hop consumer, but people move on and find new artists to follow and like as they grow and their music interests and subject matter changes. Even cats like DJ Quik and Ice Cube who i've always viewed as timeless don't move numbers anymore. Same thing with Bone.
this is only in hip-hop…. rock country and most white dominated genres support their legends til the very end .. johnny cash was goin platinum as senior citizen.. rolling stones still debuting at the top of the billboard charts pushing 80….
hip-hop always been the most disrespected genre
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this is only in hip-hop…. rock country and most white dominated genres support their legends til the very end .. johnny cash was goin platinum as senior citizen.. rolling stones still debuting at the top of the billboard charts pushing 80….
hip-hop always been the most disrespected genre
Not sure why the need to throw in the "white dominated" comment, as if it's a racial thing, like black fans of music aren't as loyal as white fans of music. A lot of hip hop music is subject matter. The older the fans get, the less interested they are in the hood rap type lyrics. But then you alienate the younger fans. There was a comment made recently concerning the song "Grown Up" about Kurupt saying he's a grandfather now and the individual said no one wants to hear rap like that. And no one believes 60 year olds are pimping and gangbanging. And then people like Dre are labelled sell outs. So you're really damned if you do, damned if you don't. Again, i think it has nothing to do with race.
You also have to remember, mainstream hip hop is relatively young. Artists from the late 80's are the first generation of rappers who have aged to the "willie nelson" or "johnny cash" levels. So maybe this will change as future generations of rappers age.
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Not sure why the need to throw in the "white dominated" comment, as if it's a racial thing, like black fans of music aren't as loyal as white fans of music. A lot of hip hop music is subject matter. The older the fans get, the less interested they are in the hood rap type lyrics. But then you alienate the younger fans. There was a comment made recently concerning the song "Grown Up" about Kurupt saying he's a grandfather now and the individual said no one wants to hear rap like that. And no one believes 60 year olds are pimping and gangbanging. And then people like Dre are labelled sell outs. So you're really damned if you do, damned if you don't. Again, i think it has nothing to do with race.
You also have to remember, mainstream hip hop is relatively young. Artists from the late 80's are the first generation of rappers who have aged to the "willie nelson" or "johnny cash" levels. So maybe this will change as future generations of rappers age.
it is what it is.. you must be white. not that there’s anytying wrong with that, but it’s well known amongst black folks that the hip-hop genre doesn’t get the same respect as white dominated genres. if this is news to u then it’s probably that.
:ohwell:
got nothin to do with content … led zeppelin can drop an album today about drinking lemon grass tea and that shits goin platinum off top. rap is a genre where the OGs are told to “give it up” and that “it’s a young man’s game”… which has historically never been the case in music.. this isn’t sports. if you can make music at 20 then u can make music at 60. not all rap is gangsta rap- you got socially political groups like public enemy, storytelling rap like slick rick, lighthearted feel good rap like pharcyde, lyrical rap like ras kass.. that excuse ain’t cuttin it homie.
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it is what it is.. you must be white. not that there’s anytying wrong with that, but it’s well known amongst black folks that the hip-hop genre doesn’t get the same respect as white dominated genres. if this is news to u then it’s probably that.
:ohwell:
got nothin to do with content … led zeppelin can drop an album today about drinking lemon grass tea and that shits goin platinum off top. rap is a genre where the OGs are told to “give it up” and that “it’s a young man’s game”… which has historically never been the case in music.. this isn’t sports. if you can make music at 20 then u can make music at 60. not all rap is gangsta rap- you got socially political groups like public enemy, storytelling rap like slick rick, lighthearted feel good rap like pharcyde, lyrical rap like ras kass.. that excuse ain’t cuttin it homie.
So you basically saying black people don’t support their musicians and genres with the same loyalty white people support their musicians and genres?
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So you basically saying black people don’t support their musicians and genres with the same loyalty white people support their musicians and genres?
that’s not what i’m saying at all
it’s a layered issue.. there are many factors as to why a black genre won’t be accepted by the general public with the same reverence as a white genre
so to try to narrow it down to one reason won’t do the topic much justice
but what we know for sure is the facts.. legends outside of rap get much more respect, and it’s not up for debate.
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To be fair other black genres don’t have this issue. Old reggae, r&b or soul artists still get supported.
I think a lot of it as was mentioned is it’s a new genre and as a hyper masculine genre it hasn’t adapted yet to older people sticking around and making it. The OG generation are all pushing 60 but they’re the very first to get there, I’d assume it’ll become more common as time goes on to see older rappers
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To be fair other black genres don’t have this issue. Old reggae, r&b or soul artists still get supported.
I think a lot of it as was mentioned is it’s a new genre and as a hyper masculine genre it hasn’t adapted yet to older people sticking around and making it. The OG generation are all pushing 60 but they’re the very first to get there, I’d assume it’ll become more common as time goes on to see older rappers
old school r&b does not get support lol
if SWV dropped an album today it wouldn’t even chart
what old school soul artist still droppin hits??
any OG reggae artists still doin numbers? The Wailers just played the same venue as RBX 🤦♂️
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that’s not what i’m saying at all
it’s a layered issue.. there are many factors as to why a black genre won’t be accepted by the general public with the same reverence as a white genre
so to try to narrow it down to one reason won’t do the topic much justice
but what we know for sure is the facts.. legends outside of rap get much more respect, and it’s not up for debate.
List those factors please. We have plenty of time for discussion. Because the way you are stating it now, seems like you are blaming the black community for not supporting their musicians long term the same way the white community does. You said that wasn't what you are saying, so please clarify because you keep bringing up race as being the main issue. Talking about rap, r&b, raggae and other traditional black genres then saying they don't suport the same way white genres do.
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To be fair other black genres don’t have this issue. Old reggae, r&b or soul artists still get supported.
I think a lot of it as was mentioned is it’s a new genre and as a hyper masculine genre it hasn’t adapted yet to older people sticking around and making it. The OG generation are all pushing 60 but they’re the very first to get there, I’d assume it’ll become more common as time goes on to see older rappers
100% agree. This is the first generation of rappers to make it to an older 'legend' status. And the subject matter as well, it is a hyper masculine genre and i think the majority of fans like hearing about 'hood stuff' and aren't interested in hearing songs about growing old and having grandchildren.
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List those factors please. We have plenty of time for discussion. Because the way you are stating it now, seems like you are blaming the black community for not supporting their musicians long term the same way the white community does. You said that wasn't what you are saying, so please clarify because you keep bringing up race as being the main issue. Talking about rap, r&b, raggae and other traditional black genres then saying they don't suport the same way white genres do.
who’s responsible for pushing the music to the masses???? is it the black community????
this ain’t rocket science my dude
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100% agree. This is the first generation of rappers to make it to an older 'legend' status. And the subject matter as well, it is a hyper masculine genre and i think the majority of fans like hearing about 'hood stuff' and aren't interested in hearing songs about growing old and having grandchildren.
drake is not a gangsta rapper and he’s the biggest thing in rap
kendrick lamar made a critically acclaimed poetry style album about his real life relationships and he’s on top of the game
this idea that people only wana hear gangsta rap and hyper masculine shit is a cop out .. especially in this soft ass era that we in
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who’s responsible for pushing the music to the masses???? is it the black community????
this ain’t rocket science my dude
Again, so you're saying the black community has to be spoon fed an artist for them to support? Why is it up to other people to push black music out to their people, they are fully capable of supporting an artist their entire career without someone 'pushing' them to do so. Give us more credit than that.
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drake is not a gangsta rapper and he’s the biggest thing in rap
kendrick lamar made a critically acclaimed poetry style album about his real life relationships and he’s on top of the game
this idea that people only wana hear gangsta rap and hyper masculine shit is a cop out .. especially in this soft ass era that we in
My point exactly, so it has zero to do with race or not being 'pushed', as these guys are obviously supported. This example proved my point, thank you. Now when they are 60, we'll see if they are still making content that the majority of people care about to keep them invested in their music.
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My point exactly, so it has zero to do with race or not being 'pushed', as these guys are obviously supported. This example proved my point, thank you. Now when they are 60, we'll see if they are still making content that the majority of people care about to keep them invested in their music.
:snoop:
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old school r&b does not get support lol
if SWV dropped an album today it wouldn’t even chart
what old school soul artist still droppin hits??
any OG reggae artists still doin numbers? The Wailers just played the same venue as RBX 🤦♂️
Oh I meant they're still popular, doesn't mean they're charting to be fair, but I take your point
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It’s a good discussion—I don’t think anyone will win because both are right.
Sccit is right that it doesn’t make sense that older rap artists can’t get the same support as white artists. Soopafly has a point that maybe the hood music doesn’t play out quite so well at older ages.
But Sccit mentioned the RBX album—my brother is like your average American guy, sells insurance, watches TV, has a couple dogs and cats and a wife, supports the local team. When everyone was into NWA and the Chronic he even had an Eazy E album in his tape deck and him and his friends would recite some of the more comical parts of the album and whatnot—-but dude doesn’t know who the fuck RBX is. He knows “G Thang” and he was even the one that told me it was Ice Cube coming out the bathroom with the hoes on “Let Me Ride”. But again, doesn’t know who the fucc RBX is. I ordered the new album to his house since I don’t live in america anymore — and told him how it’s a big deal cause my homies did an album with RBX he’s like “who’s that?”
But I guarantee you he knows all those middle of the road white artists that are 60 years old and come around to tour and him and his wife went out to the shows. They even went to an Orchestra performance of Dre’s Chronic album—but yet again, don’t know who RBX is.
So yeah Sccit has a point it’s up to the black community to support, but white population is larger in US. Sometimes those artists can get more love in Europe, I went to a Jeru the Damaja show in Netherlands back in 2017. He got love over there from all white fans, ironic when you consider most his lyrics are black empowerment and borderline racist to whites.
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I went to the Dre 2001 Orchestra in LA, the crowd was relatively my age and a bit of 20 something’s surprisingly but it was more focused on the 2001 album and truly nothing from the original Chronics album. The other thing that was really interesting is the MC of the night was a Asian or Pacific Islander kid so he couldn’t use the N word what so ever out if respect and it was smart not to as well… He was also in his mid 20s also and did his thing … crowd was older and was not hype in the least bit .very small venue and they asked some not to smoke so much weed which was odd too
The Chronic Iced Tea drink was coo too and I bought I shirt to support but truly different the leading Maestro was a black dude with a heavy accent out of London/Uk not sure so they were influenced from outside the US he said…
But compared to the Dre Day show in echo park very quiet crowd … I mean shit for me and my lady to be the louder ones is wild to me cuz we chill and enjoy our drinks and smoke our weed and go home it was the same crowd at Scarface show in Garden Grove very dope performance crowd was lazy except when Face ran in the floor and started pushing and moving us which was dope of him to do he was amazing that night best small venue show until DJ Quik same venue the following weekend dude had that shit packed ….