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Unwelcome content and prohibited behavior as defined by Reddit is never allowed.No Unwelcome Content or Prohibited Behavior Please read the Guidelines/FAQ before posting! Favorites/Do Not Post Listĭo not post songs from projects or collections listed on the Overposted/Favorites/Do Not Post List. The latest music, videos & news relating to your favorite hip-hop, R&B & future beats artists. Perhaps the most impressive aspect of the record, however, is its reference to previous diss tracks, from Boogie Down Productions' "The Bridge Is Over" to Eazy-E's "Real Muthaphuckkin G's" to JAY-Z's own "Takeover." By mentioning these legendary past feuds and the feuding parties, either lyrically or through sampling, "300 Bars" becomes a sort of metatext, chronicling the history of the diss track while becoming a crucial part of that history.Welcome to /r/HipHopHeads! /r/Hiphopheads COVID-19 Donations Thread His scope is even more comprehensive than that, as he seems to take on all of New York by referring to his concurrent feuds with Memphis Bleek and JAY-Z. The Game puts the whole crew on blast, with insults ranging from the delightfully brutal (relegating Young Buck to a stand-in for Tony Yayo) to the tasteless (mocking Olivia for allegedly being trans). Most of "300 Bars & Runnin'" is devoted to questioning 50's authenticity, starting with the kids in the intro looking down on G-Unit's material.
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When he and 50 Cent entered into a scuffle earlier that year (resulting in his subsequent ousting from G-Unit), his short-tempered creativity went into high gear, resulting in one of the most acerbic diss records ever laid to wax. In 2005, the music industry hyped The Game as one of the biggest rappers of his day, with a notorious penchant for feuding with his contemporaries. It's this combination of goofy narratives, hidden messages, and inventive rhymes that makes Jimmy Spicer a true hip-hop pioneer deserving of much wider recognition. When Dracula, virtually a foreigner, is refused entrance to Studio 54, it feels very much like a critique of elitism and bigotry plaguing the late '70s club scene.
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Jimmy, as Super Rhyme, recounts a performance for sportscaster Howard Cosell, during which he seamlessly moves in and out of shorter tales about Dracula and Aladdin without losing a beat.īeyond their novelty appeal, these vignettes carry veiled social commentary. There is some party jam fodder of the "hippity hop and you don't stop" variety, but most of the track exhibits rather complex storytelling. The record comprises two very long verses, with Jimmy taking on the role of the titular Superman spoof. While few offered much on a lyrical level, Jimmy Spicer managed to keep a fresh perspective on the then-budding genre and deliver some unique, oddball rhymes on 1980's "Adventures of Super Rhyme (Rap)." There is no shortage of lengthy records from the early '80s, with many songs released as extended club versions. When he reads a second socially conscious poem, and Pac disappears, Kendrick leaves us with a sense of frustration that demands conversion into meaningful action. By positioning him in this convergence of past and present, "Mortal Man" also reinvigorates Pac's message of a courageous fight for justice, which is carried on by his student, Kendrick. Pac's voice provides a heartrending plot twist to the album, invoking the same deep longing for his presence as his posthumous recordings. Taken from a 1994 interview, 2Pac's stories of struggle and prophecies of rage feel particularly urgent given the album's stark political tone. Next, Kendrick recites the monologue strewn across the album, which reveals itself to be part of a dialogue with another late icon of Black resistance: Tupac Shakur. Inspired by his 2014 trip to South Africa, the evocation of the late anti-apartheid leader lends historical gravitas to Kendrick's fight against institutional racism in the US and his ruminations upon loyalty and forgiveness. In the first section of "Mortal Man," Kendrick posits himself as the ideological heir to Nelson Mandela. At the conclusion of his GRAMMY-winning third album, To Pimp a Butterfly, Kendrick provides another lengthy multi-part track, which ties together all of the album's themes. Kendrick Lamar is no stranger to the long-form rap record, having included the 12-minute "Sing About Me, I'm Dying of Thirst" on good kid, m.A.A.d city.