"EAST COAST is a slice of BREAD & WEST COAST is a slice of BREAD..but the SOUTH IS THE MEAT-JPRINCE

[tuckgod]

this is some of the realest shyt i ever seen posted here....

i can attest to this because i didn't really embrace SOUTHERN MUSIC and culture till about 98

i moved down south around 96 and was strictly on my east coast shyt

even prior to that....i would always visit my aunt and spend summers here but was ANTI-SOUTH ....

i would bring my KISS FM..WBLS tapes with Marley Marl , Red Alert and Pete Rock to give me a sense of what seemed like "real music" and culture to me

i was so east coast..i almost got into a fight a cousin from here in the south..cause as we was riding out in my whip to school i told him if it ain't from the 5 boros i don't wanna hear it...and he said well if it ain't from the bay area (he was a big too short and mobbin music fan) he was gonna whip my azz and take my whip


crazy times....but slowly but surely i took the time to actually listen to the music and fell in love with it...

it had to be the Goodie Mob lp's both releases that got me first aquainted to realize BLACK MUSIC IS BLACK MUSIC regardless where it comes from as long as it was good

then finally being of age to go to clubs and seeing them beautiful black women from FLA bootyshaking to the hard bass sounds of uncle luke..magic mike and poison clan DEFINITLY GOT ME OPEN


and more tolerant and less ignorant .....and i must say really made life more pleasent for me....

i truly think RADIO PROGRAMMING was to blame for it....i noticed that when i got a internship at a small AM radio station in south carolina that broadcasted to georgia as well...

and realized it's these "OUTSIDERS" i.e (white radio consultants) programming which region gets to hear certain records and which doesn't

even the distributors where that way....it was hard as fukk to find a Ultramagnetic MC's release in the south record shops

just like it was equaly hard to find a Ghetto Mafia lp in NYC in the north record shops

these "culture vultuers" had us divided.....

and it shouldnt have been that way considering we ALL WERE FAMILY in a literal sense as well...

DJ SCRATCH of NYC is a cousin to DJ MAGIC MIKE of Orlando Florida

MC Shy D of Atlanta was related to Afrika Bambatta of the Bronx

we lost alot of creative exchanges due to these dumb azz regional differences promoted by corporate execs and willie lynch like outsiders

and its sad its still being perpetrated on this board

Repped

 

[ahdsend]

Lots of revisionist of history going on in this thread.

NY was in some elitist bullshyt from the late 80s to the mid 90s especially but not limited to the industry.

I remember NY cats showing ass when they started migrating down to ATL

******Friday Night Vibe Newsletter July 31 1996 *************

******The East Coast Started The Bi-Coastal War Within Hip Hop************


This past week, I've heard three songs that are guaranteed to
intensify the current east /west coast 'war'. The first comes from Ice
Cube, Mack 10 and WC. Collectively known as the Westside Connection, this
trio has lived up to their pledge to bring this drama with their new song
entitled 'Bow Down'. A smoldering, ominous beat, inflammatory lyrics, an
engaging hook and a dope video which just premiered on BET will undoubtly
have folks from Cali proudly throwing up the 'W' and have folks from back
east steamed.

Some will ask what's up with Cube and company constantly dissing
the east coast? In a recent conversation with WC, he explained that really
its not a dis to the entire east..their main bone of contention is with New
York. Secondly, it's not with the entire city but rather with the New York
critic who happens to be a writer, dj or even another artists that has been
forever disrespecting and minimizing the accomplishments and success of
west coast artists. As WC it was about time someone grew some balls and
said 'enough is enough and stood up for Cali'. The entire upcoming Westside
Connection album is definitely gonna set off at the very least a war on
vinyl that'll make the legendary '86-'87 BDP..Juice Crew NYC bridge and
borough wars pale in comparison.

King Sun has stepped into the arena with a hard hittin' response
song directed at 2Pac. Here Sun berates Pac and accuses him of being phony
and a slave to Death Row ceo Suge Knight. While Sun's record puts forth
some choice words he flips the script by also being critical of artists
from his native New York who have gotten lazy and non creative. He also
gives props to his 'peep' out west..but because of 2Pac's huge fan base,
there will undoubtly be a perception that Sun's song is a west coast dis
record.

Finally we have the Bay Area's E-40 who is about to release his
best album yet. He's definitely gonna go triple platinum. Entitled 'Hall Of
Game', the lp starts off with a hard hitting song called 'Record Haters'
which takes some pretty hard pot shots at some of his east coast brethren..
inparticular basketball star Rasheed Wallace and rap star AZ. I spoke to
'40 watter' about this cut and he explained that normally that's not him to
come off like that..but Wallace while being interviewed on BET's Rap City
dissed him. Rap star, AZ in a separate interview also dissed E-40 when he
publicly questioned the legitimacy of E-40's platinum success. He went on
to note that 40 didn't deserve to go platinum... Why these brothers went
there...I don't know.. It's not like they know him. To me, it was yet
another example of an arrogant east coast bias and attitude held by more
then a few which has been the real crux behind hip hop's current civil
war.

The East/West Coast conflict started festering when a handful of
people got into a position where they could present music to the masses..ie
djs and journalists. NYC being the #1 media market in the country and the
birthplace of hip hop, had long held certain allure and appeal that set the
tone for the hip hop nation. The current conflict has been a reaction from
the east coast to no longer having complete influence over hip hop. In
other words it's a control thang.

In the early 80s when hip hop was just emerging on records,
everyone from both coasts checked for a new rap song..But as it evolved
folks from different parts of the country wanted to check for folks coming
out there own back yard..They wanted to hear beats and lyrics that spoke
directly to their musical heritage. In others words, when an artist like
Mele-Mel dropped 'The Message' folks from hoods all around the world
checked for that song. The fact that 'The Message' may not have been a
complete picture for some kid living in the hood in Mississippi didn't
matter. Mele was filling a void by talking about the modern day ghetto. But
once folks like Too Short out of Oakland, or The Geto Boys out of Houston
started rapping about their own hoods..folks in these parts tended to opt
for the local flava over the material coming from NY. It wasn't like people
had a dislike about New York or anything like that...however, hip hop at
its best always spoke to the people and places it came from. Like the
blues, which is really what hip hop is, the music reflected the musical
heritage, slang and culture of a particular region or even people.
Nevertheless, folks out west for the most part accepted and played both
their locals as well as NY artists...NY was given love and mad respect.

On the other hand, NY's intolerance had been notorious and well
documented.. When brothers from the Bronx first dropped in the late 70s
they didn't wanna check for Brooklyn.. Then when Brooklyn dropped nobody
respected Queens.. Then it was people from Long Island who got dissed.
Later it was folks in Jersey and Philly who weren't being respected.. NY
always took this attitude that basically said 'the world revolves around NY
and y'all ain't crap cause hip hop started here..' This attitude was
reflected by a handful of djs and NY 'critics' who would set a tone by
publicly dissin' hip hop music that wasn't from there. They wouldn't play
the music on radio or in clubs.. Writers would be overly critical and apply
a New York based standard when listening to hip hop. In other words if
James Brown samples were popular in New York and P-Funk was happening out
west or in Texas...NY 'critics' would voice an unfavorable opinion. If a
rapper put out a song where you could here his non New York accent or
flow..he was roundly criticized and called 'country' or 'wack'. What made
these opinions a sticking point for many was the fact that at the time NY
hip hop 'critics' carried a lot of weight.. all over the world.

What also wasn't realized was that when the NY djs and press dissed
an artists from another region they in a sense were dissing that artist's
entire community who saw that artist as a hometown hero. A dis to Too Short
was a dis to Oakland.. A dis to Philly rappers like Schoolly D, Fresh
Prince and Marvelous Marv was a slap to all the Philly folks who felt
these guys were representin'.

In fact many hip hop regions blew up inspite of NY's bias...These
local scenes blew up to a point where they could no longer be ignored...
Folks may recall that at one point, Philadelphia was bucking to be the
nation's rap capital... Across the Hudson River artists like Queen Latifah,
Naughty By Nature and that whole Jersey Flavor Unit clique went on to put
their folks on the map in an undeniable way... Because of proximity and
people being able to easily go back and forth, Jersey and Philly artists
eventually began to get a good amount of respect within New York. For the
most part the musical heritage along the eastern seaboard was similar. New
York set most of the tone and it was relatively easy for others to adapt.
This was and has not been the case for people living 3000 miles away in
California.

Because of the distance there wasn't a consistent exchange of
people to help dispel all the stereotypes folks from back east held of
California. The most prevalent being that there were no ghettos and
everyone was a surfer type if they were from LA. If they hailed from the SF
Bay Area, they were stereotyped to be gay or some sort of hippie.
Unfortunately, many east coast folks weren't able to really hang out in
Cali and learn what it was all about culturally and musically.

What many people don't realize is that Cali was up on hip hop
pretty early on.. Artists like Too Short were rapping and selling tapes
back in '82... In LA hip hop was represented by acts like Uncle Jamms Army,
Egyptian Lover, LA Dream Team, Toddy Tee, Ice T and Mixmaster Spade to name
a few. Like the hip hop scene in NY, these artists were a part of a bigger
scene which consisted of djs, dancers and graffiti writers. Like NY's early
hip hop scene, most of these activities were born out of gang culture.
Hence while folks back east were break dancin' and cutting and scratchin',
kids in Cali were pop locking doing 4 turntable mixes at huge underground
hip hop parties and clubs.

Because the Cali music and lifestyles were so far removed from NY's
reality people in the Big Apple never really related to the artists
initially coming out. But here out west folks gave NY artist love and
respect..Their music was always being played.. When NY had radio stations
that were refusing to play hip hop, LA had stations like KDAY and KPOO in
SF that dedicated themselves above and beyond a segmented 3 hour rap show
to playing hip hop. Later on, SF's Top 40 power house KMEL took the reigns
and began presenting hip hop to the masses. In fact stations like NY's Hot
97 exists because of a KMEL... Not to deviate too much, but the point I'm
making is that east coast artists were always given love in Cali..This was
never the case in NY..DJs from Mr Magic to Chuck Chillout to Red Alert to
Funkmaster Flex would consistently turn their back on west coast artists
and not be responsible to the hip hop community and present new material to
help open people's minds.. Oh yeah every so often a Flex would play a Snoop
Dog or an Ice Cube cut and I recall Red giving some love to Young MC but
there was never any real consistency. And it was disproportionate to what
hip hop djs out west were doing. In fact west coast hip hop jocks like
Power 106's Tha Baka Boyz, KMEL/KKBT's Sway & Tech of The Wake Up Show were often accused of being too 'east coast' in their music selections. Many
west coast acts were discovering for themselves there was huge imbalance or
trade deficit. East coast hip hop culture would be exported and exposed to
the west. West Coast hip hop culture would be exported back east and never
exposed. This imbalance has been made more apparent when you consider that
east coast jocks like Funkmaster Flex were given hip hop shows on Cali
radio stations like Power 106 while that can't be said about Tha Baka Boys
or The Wake Up Show.

West coast djs have and still do constantly present NY underground
artists who have no impact on the west coast market.. As my man Sway from
The Wake Up Show would say.. 'We're just trying to alert people and turn
them onto new flavas..' That has not been the case in NY.. Here in the
West one always hears acts like Group Home, East Flatbush Project, Mic
Geronimo, Ten Thieves, or Sadat X etc...on hip hop radio shows. But you
never hear popular underground groups like JT Tha Bigga Figga, C-BO, E-40,
Spice 1, The Whoridas or The Conscious Daughters being played in NY..not
even on college radio.

 

[ahdsend]

To show you just how closed the NY market has been to the west
coast and how intolerant the Big Apple can be, a few years ago['92] a west
coast jock named Omar A Parker moved from the Bay to NY. Omar had
established a nice rep with his 'House Of Music' show as a dj on UC
Berkeley's college radio station KALX. This was where groups like NWA did
there first Bay Area interviews. Anyway, Omar moved to Brooklyn and found
himself spinning at a party. He decided to stretch out a bit and began to
play some songs from Bay Area west coast artists.. Some kid got pissed and
shot him in the back. Omar was told this is Brooklyn and to take 'that
wack Cali music out west'. This incident probably had no bearing on the
current bi-coastal conflict however, it illustrates the attitude many New
Yorkers have had toward West Coast hip hop. It's not something they dislike
but seemingly detest.

The biggest dis for west coast artist has probably come at the
hands of the NY based press. Hip Hop magazines like The Source were seen as
constantly dissin' west coast artists via negative reviews and low ratings.
Musical icons here out west were routinely dissected and dismissed within
the pages of such publications. This of course not only hurt the artist but
also angered the legions of fans this artist had cultivated. For example,
I remember how pissed folks in Oakland became when they heard how Too Short
a Bay Area icon was being dissed by NY critics... His first album on Jive
Records was the toast of the town out here... NY critics were dissing it,
because they didn't like the beats or Short's slow rap style.. All this
was happening at a time [the late 80s] when west coast artists were still
seeking acceptance from NY.. the birthplace and mecca of hip hop. Such
disses were taken as personal rejections.

Such rejections were felt even more when many west coast people
would go away to music conventions and recall hearing comments from east
coast writers djs and panelists stating things like west coast artists 'are
country', 'they can';t rap', their music is wack.. and of course the 'west
coast artists aren't really hip hop.. they are only rap'. These critics
stereotyped and never bothered to learn the west coast culture. They've
never bothered to research and acknowledge that grafitti, djaying, dancing
and emceeing were as much a part of west coast life as it was back east.
The only difference was the style and flava that west coasters exuded when
executing these activities.

East coast artists really fueled the east/west conflict on a number
of different levels... sometimes right in the backyard of popular west
coast artists.. I recall East Coast acts refusing to relinquish stage time
or open up for west coast icons despite the overwhelming fan response. This
happened to folks like Too Short and Hammer.

Folks out west can recall more then a few east coast artists who
would be on some of the local rap shows dissin' west coast music...and then
would try and clown listeners for not supporting their own music. Most of
their remarks would come from a point of pure ignorance, but as WC said
'enough is enough'.

Tim Dog was the one who may have drawn first blood on vinyl when
deciding to write dis songs for his debut lp 'Penacilin On Wax' Remember
long before Ice Cube was yelling 'westside'.. Tim Dog was yelling 'F*@k
Compton'.. and while I understand he had some legitimate reasons for
wanting to call out the group NWA in that song, he unfortunately took
things a few steps further by dissing DJ Quick among others.. DJ Quick up
to that point had never said anything about Tim Dog if he even knew him. In
fact I recall reading an article about DJ Quick and how fascinated he was
when he went to New York and got a chance to visit the Bronx.

Because of gang affiliations and gang culture being so pervasive
out west.. 'dis' records aren't perceived or received the same way out west
as they maybe back east.. It ain't about mc battling especially when you
start capping and don't know some one...For one, it messes with people's
livelihood and for many out here on the west coast hip hop artist who have
there own labels and publishing companies hip hopis a business as well as
an art form. Unflattering remarks can effect record sales. If that happens
or looks like it can happen then it's all about gettin it on... Almost
every dis war I've seen between west coast groups has led to some serious
confrontations... For many, the rule of thumb has been, if you dis we
fight next time I see ya.. Hence when dissing between west coast artists
show up on vinyl, folks have made moves behind the scenes to stop any
potential drama. Things get taken on a very personal level if not by the
artist definitely his fans.

That's why I have to wonder when prominent east coast artist like
AZ come out and start dissing. Why would pop off like that ? It's not just
a dis to 40..but to all his fans who seen him struggle in this business for
the past 10 years and work his butt off to get to his platinum success.. A
dis to the artist is a dis to the fans.. that's how its taken. No one
dissed AZ for his success.. and no one tripped when his record was played
10 times a day on commercial radio. He got his props for putting out a good
song like Sugar Hill..and here he comes dissing one of the Bay Area's most
popular artists.

The thing that will help alleviate some of this tension will be for
folks to drop the NY intolerant attitude when talking about hip hop. Don't
say things like the west coast is not real hip hop and the west coast is
all gangsta music while listening to east coast acts like Mobb Deep,
Biggie, Jay Z and Wu-Tang talk about inner city street life all the time in
their rhymes..These artist talk about selling drugs.. shootin' other
brothers.. and hitting skins..Some go so far as to pretend they are down
with the Mafia.. If that ain't fake then what is?

Remember it was acts like Run DMC who introduced many of us to the
'virtues' of drinking Ole English 40 ounce and the importance of being
hard. Others like Schoolly D rapped about smokin' weed and being down with
a gang..Heck, KRS-One came out with a gangsta album when he dropped his
first lp Criminal Minded. Here he spoke about his nine millimeter. He even
had a cover depicting him and Scott La Rock with a gun. So when west coast
acts come out rappin' about what their street life culture is about, how
are they are suddenly ruining rap?

The other thing that needs to be dropped is this east coast
criticism of west coast artists selling hip hop out because they're making
money. To me, it sounds like jealousy. Everyone from Ice Cube to Hammer is
an artist. They do what they do and they're responsive to their fans.. This
has always been a part of hip hop from day one. The only difference was in
'78 artists collected props and hand claps and in '96 they collect money.
If folks could've collected money in '78 they certainly would've..

Nevertheless, rappers did what they needed to do to get props..even if it
meant wearing outrageous costumes, doing dance routines or harmonizing
their raps. Artists like GM Flash, Afrika Bambaatta and The Force MCs and
later MDs weren't considered sellouts for appealing to their fans so why
are today's west coast artists any different?

Many of these east coast pioneers performed at ritzy upscale clubs
in places like NY's Greenwhich Village..were they sellouts for taking hip
hop to an audience outside the hood? They weren't then so why are they now
when west coast artists do this?

West coast artists understand that they're the one's creating the
music..and they deserve to get paid..especially since everyone else within
the music BUSINESS is. Don't front on someone for getting paid especially
when he's doing his craft. If east coast artists don't wanna get paid
that's on them..but the fact that folks are signed to major record labels
by default means they are an integral part of the money making machinery
within hip hop. You might as well go on and get paid. Heck everyone from
Nas to Wu-Tang rap about collecting their CREAM.

Finally let's dispel this notion of west coast artists having one
style..gangsta rap.. You constantly here east coast critics stereotyping
the west on this tip. Just like Biggie isn't the only east coast rapper,
Snoop and Ice Cube aren't the only west coast artists... They do what they
do because they're successful...for whatever reasons... But the west is
very diverse. There all sorts of artists with rhyme skillz...artists like
Ras Kass, Aceyalone, The BUMS, Pharcyde, Saafir and Soul Of Mischief
etc...Continued conversations from east coast critics about west coast
rappers lacking skillz continues to show that disrespect... Again its the
uninformed speaking from a point of ignorance...

Try and think of this conflict from this angle, when the NY Times
or some other newspaper continually writes negative stories about Blacks or
young people or women.. these groups will get stirred and demand more
balance information.. If that doesn't happen they'll scream louder..and
start kicking up dust..Eventually they'll get frustrated and stop showing
any respect to the NY Times... This is what has happened with this whole
east west Coast thing.. Its been NY djs and critics abusing their power...
when folks start showing respect and began embracing their west coast
brethren a whole lot of folks will stop yelling 'west side'.


Let's keep it strange in '96...Peace
Davey D

 

[mobbinfms]

Look at this drake level sensitive bytch nikka giving his input when his ass never even stepped foot in this country.

Foh u lame

You really think NY doesn’t have the most classics?
Or is this just a personal beef :PHandsup:

 

[mobbinfms]

You really don’t think NY has the most classics?

 

[Danktoker94]

This site is trash this thread is the proof

 

[spliz]

The SOUTH the First on Wax and video. Rewrite this history

Son there’s a million examples of nikkas technically “rappin” back then. Dating back to the 20s and 30s. But there is a BUNCH of elements that combine together to create what we call “hip hop”. That shyt started in the Bronx. Period.

 

[Zero]

So the Midwest is the condiments???

 

[Zero]

This could've been a great thread if yall would tuck in your feelings for once

 

[spliz]

Lots of revisionist of history going on in this thread.

NY was in some elitist bullshyt from the late 80s to the mid 90s especially but not limited to the industry.

I remember NY cats showing ass when they started migrating down to ATL

NY nikkas would go ANYWHERE and show they ass. shyt was like that even WITHIN NY if u wanna be real. “Im from Brooklyn” became a running joke cause of it. And I say this as a nikka from Brooklyn. Regardless. The city as a whole fukked wit other music and im tired of the fact that this lie that we didnt keeps getting perpetuated because of the way the industry painted shyt. Be it labels, radio dj’s or even rappers. shyt I know nikkas that was raised in the south and came up here and got mad love. There’s nikkas I went to school wit like that from this very day. Every region has they little biases. shyt Pac was called MC New York when he went to Cali. U think that’s a name he created for himself? Every coast is guilty of a level of bias but NY gets this fukkin probe on it and I understand. Since most of the labels n shyt was up here it was kind of hard to break into the market. But that aint got shyt to do with the people in the city.

 

[spliz]

The industry was the ones hating. That has been established in this thread long ago.

 

[3rd Ward Swangin]

Son there’s a million examples of nikkas technically “rappin” back then. Dating back to the 20s and 30s. But there is a BUNCH of elements that combine together to create what we call “hip hop”. That shyt started in the Bronx. Period.

Hey potnah I'm not your son. South started rap period point blank. East coast started Hip Hop. They're four elements within hip hop including rap. Y'all used southern music samples to make y'all rap also. Pay homage to the Original's or catch out.

 

[360dagod]

Hey potnah I'm not your son. South started rap period point blank. East coast started Hip Hop. They're four elements within hip hop including rap. Y'all used southern music samples to make y'all rap also. Pay homage to the Original's or catch out.

You do realize the foundation of southern music the 808 was originally a NY thing right

Or are we gonna conveniently ignore that

 

[LunaticVillage415]

yeah i had to mention the Bay ...because so many of my southern friends and family members were rocking to BAY AREA music....as opposed to EAST COAST NYC HIP HOP

and it wasn't a HATE thing....

it was simply CULTURAL PARRALELS ...

for example BAY AREA artists like Too Short...and all those bay area artists made good CAR MUSIC...and the INDPENDENT SPIRIT as well...because SOUTHENERS AND WEST COAST BLACKS didn't have the access to CORPORATE WALL STREET that these MAJOR LABELS offered in manhattan...

it was a do it yourself BE YOUR OWN BOSS mentality here and in the bay area

but most importantly it was the MUSIC.....west coast and the south shared a greater creative affinity

in the SOUTH thier was and still is a big car culture.....you had to have that BASS beating out those 12 INCH WOOFERS...in them Chevy dunks and other classics Buicks , Monte Carlos and Lacs here in the south....

to compliment that "pimped out" ride which is why the live instrumentation played a part as well.....

don't get me wrong...now the south did FUKK WITH THE EAST COAST heavy in some aspect but it was related to how the BEATS were mostly..

when i first started visiting the south...southerners LOVED RUN DMC....WHODINI AND EPMD..cause they made good FUNKY SONGS FOR THE WHIP...

but for the most part for myself yeah i'll admit i was the typical EAST COAST head hating on other regions

as an east coast transplant i couldnt releate at first..simply cause I DIDN'T HAVE A FUKKING CAR i grew up on mass transporatation and i didn't have any BYATCHES EITHER...

which is why most of my music was DARK..LYRICAL and only good for HEADPHONES and the BOOM BOX...(onyx...lord finesse...ultramagnetic..jvc force)

it wasn't until i got MY OWN CAR ..that i was able to ADAPT to the SOUTHERN/BAY AREA connection sound....as well as the "PLAYA" aspect cause now i had better access TO WOMEN....

and just like any man YOU PLAY WHAT THE HOES LIKE

BOUNCE MUSIC...MIAMI BASS..GANGSTA RAP....

but at the end of the day..the west and south had a connection which kinds of alienates NYC which might explain the tension

and OUTKAST was one of those that made that connection well as a good example

The Bay and all of Cali is more closely related to the South in terms of black people. Black folks in the Bay and L.A. only a generation or two removed from Mississippi, Texas and Lousiana. Black NYers been in that region since the 1800's and earlier and shyt. Blacks from the South fled to the North for freedom before slavery was even abolished. Black NYers be sounding just like the Italians and Jews they live around in terms of accents. Also, Cali and Down South culture are both laid back compared to the East Coast. shyt gets hectic in the hood wherever you at, but generally speaking Down South and Cali folks understand each other better culturally.

 

[360dagod]

Funny you mention the Bay, because outside th mainstream, the Bay and Down South been collaborating since the 90's. Master P started No Limit in the Bay in the early 90's, soaked the independent hustle there and went back to New Orleans and blew up there later.

But there are so many West Coast/Down South collab albums, particularly Bay-Down South collabs. Bay nikkas used to travel to New Orleans and ATL all the time. Too $hort and Ant Banks originally relocated to the A in the 90's. JT the Bigga Figga out there too. There is a huge market for Bay rap in the Midwest too. Kansas City is like the second biggest market for Bay rap. Young nikkas say Bay rap sound like Detroit rap, but Too $hort made the blueprint for the Bay sound in like 1985.

In my opinion, the only region that tends to keep to themselves and hate on other regions a lot is the East Coast. I remember Too $hort said "you say I'm weak because I don't sell records in the East" and E-40 said the East Coast was the only region where his music sold poorly and Biggie outright said E-40 and Spice 1 were wack. And the East Coast is more dependent on the mainstream machine to push their music moreso than any other region. The East Coast don't support an unsigned underground artist unless he has 2002 50 Cent mixtape buzz, period. I don't what it is about the East Coast. And individual East Coast cities tend not even like each other. DC nikkas call anyone who ain't from DC a bama. But NY stayed hating on the West and the South, while over time, emulating the rap and culture from both places. The whole NY hardcore movement of the mid 90's was basically NY doing its own version of West Coast early 90's Gangsta rap. 2000's to present NY rap is blatantly influenced by the South. Lets not even start how NY has copied LA gang culture while not admitting it.

If biggie thinks they wack, then that's his opinion
Why is everything considered "hate" when some nikka from the east coast says anything

Too Short and e40 were regional artists...of course they sold poorly in the east coast because they weren't getting promoted out here...and/or their style was catered to their regions and people who like their music...

I'm sure no one cared for jeru the damaja on the west coast, but if a nikka over there said he makes that east coast rappity rap, it's not considered hate at that point, it's an opinion..

I just dont get the double standards...

We cant make classic ny rap because its outdated

Meanwhile if big krit made an album that sounded like old school UGK, it's the best thing since sliced bread..

We can't make trap because it sounds like the south
But if jay electronica made some east coast sounding shyt, the response is completely different .

The 808
The triggaman sample
Saving lil Wayne's career which in turn gave birth to his clones

The east coast is still in the roots of modern day hip hop whether the world likes it or not