Joe Budden perfectly explains how NY hip hop fell in the early 2000s

O.Red

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If the South would have did a better job of filtering out the b.s. music, you wouldn't have nikkas like scarface saying fukk a major
The South became the South by largely saying fukk a major anyway tho.

That's one thing underlooked about these new nikkas.

A lot of them saying fukk a deal like they're supposed too and eating good
 

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The South became the South by largely saying fukk a major anyway tho.

That's one thing underlooked about these new nikkas.

A lot of them saying fukk a deal like they're supposed too and eating good
True story

Meanwhile ny nikkas were more focused on shopping for deals. Yeah you could spit a hot 16 to dj clue or funk master flex or whoever in front of def jam office but is you gonna generate $$$$$$? :comeon::patrice:
 

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SAN ANTONIO SPURS NY DIVISION
The South became the South by largely saying fukk a major anyway tho.

That's one thing underlooked about these new nikkas.

A lot of them saying fukk a deal like they're supposed too and eating good

I should have expanded on that..

The game isn't set up currently for a nikka like scarface to succeed on a major label...which basically cheapens the whole genre

Artist development is a thing of the past because these labels don't want to spend the bread to properly nurture an artist..

So you get throwaway rap and copycats who are just putting words together for a check..

I'm sure nikkas like scarface,outkast,etc didn't put on for the South to see artistry from his region cheapens for a Buck
 

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SAN ANTONIO SPURS NY DIVISION
True story

Meanwhile ny nikkas were more focused on shopping for deals. Yeah you could spit a hot 16 to dj clue or funk master flex or whoever in front of def jam office but is you gonna generate $$$$$$? :comeon::patrice:

It was way harder for N.Y. nikkas to go indie just off geography and regional differences...
nikkas were going gold just in the South..
I used to read xxl and seeing nikkas I never heard of selling 100k..
 

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I should have expanded on that..

The game isn't set up currently for a nikka like scarface to succeed on a major label...which basically cheapens the whole genre

Artist development is a thing of the past because these labels don't want to spend the bread to properly nurture an artist..

So you get throwaway rap and copycats who are just putting words together for a check..

I'm sure nikkas like scarface,outkast,etc didn't put on for the South to see artistry from his region cheapens for a Buck
This way of thinking is the problem. Nikkas wanna have rebel energy while still relying on old ass standards.

Scarface needs to be on a major why exactly? Who cares bruh

Tribe crowdfunded an album last year. That album sold and was received very well. Jay almost 50 and put out one of the best received albums of the year. A stripper currently has the #1 song in the country

There are no rules bruh. Once that's understood then the creativity in how to present oneself is born.

The sooner nikkas get away from these archaic ass models and realize it's a way for everybody to eat the better. Applying these blanket ideas of success on everybody is what creates the narrative of nikkas suffering when they're not or don't necessarily have to be.

Scarface don't need to have a song on the hot 100 and that's FINE.

I agree with you about artist development but that's the flip side of a game with no rules. Democracy ain't democracy without bandits bruh
 

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artist is the bay & Atlanta get local support. An artist can be popular in their area & never need AirPlay from any other city. Also an artist work harder while New York artists still wait for a check from the label. Cardi b just showed them how to do it.
 

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Joe Budden says Wanksta 50 didnt have the power to stop “pump it up”

But in da club 50 did..


:russ:


Thats the same fukkin album ya dope :mjlol:

Oh my god i love hearing this idiot spew bullshyt, let me keep listening to mr pump it up :laff::laff::laff:
 

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Fat Joe was eating after 03,


Make it rain???


I guess he dont count as part of new york,


Jim Jones moved units with we fly high (ballin) in 06, which means dipset was still popping after 04,
 

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Like always, Joe was way too scattershot with his arguments. He initially claimed that 50 played the pivotal role in the undoing of the NYC music scene, but then he later pivots and starts presenting arguments that relate to the actions of radio, and not 50. When he was finally pressed to clarify towards the end he finally presents an argument that actually relates to the actions 50 carried out but he never manages to draw a direct line back to said actions.

Ex. how did 50 beefing with Ja or dipset prevent the talent pool of unknown or upcoming NYC rappers from the mid 2000s like a Saigon, Corey Gunz, Jae Millz, Papoose, or True life from getting over? Imo, Joe's explanation doesn't satisfy that problem and neither does Manio's or Ak's arguments. Imo, I think the downfall of NYC is better explained with just concluding that majority of the upcoming artist were trash. Remember Dj Kay Slay's 25 deep? A bunch of generic punch line rappers with no prospects to make a quality single or an album.
he made this perfectly clear

50 had interscope... 50 would RAP about joe, nas, ja, jay, etc... that's fine.. but interscope would be the ones approaching radio saying "if you play such and such, we won't let you play any interscope records"

so that's behind the scene shyt.. no 50 didn't directly do that.. but 50 and his millions of beefs, would have iovine do the dirty work.. and if i'm radio and it's 2003 and i have to choose between 50, Em, Dre and all of interscope vs some ny rappers... hell yea i want my job, fukk ja rule.

the artists you named wasn't getting no fukking radio play regardless. which is why joe said it's half on radio. cause they only care about numbers. so nah papoose ain't getting no damn play on nyc radio... THAT IS A PROBLEM.. an nyc artist, who nyc was in love with, can't get plays on hometown radio, which happens to be the largest radio station in the world (at the time)..

meanwhile in every single southern market, nikkas is walking up mixtapes and getting 10 spins a day. at this exact same time, nyc radio is saying fukk nyc, lets play worldwide music... which of course, is the south at the time. yea the big boys gonna do numbers... jay and nas (def jam and interscope are partners) and maybe 1-2 others.. legends.. or offspring of those

but if you are a new artist, you wasn't going up to hot 97 and getting your shyt played... and if you was known, but you was beefing with 50, you wasn't getting play up there either. and they playing TI anyway, so fukk you




NYC was doomed... now look at today.. A boogie getting spins already... Cardi was getting pushed.. even rappers that aren't big, are still getting love on interviews and spins.. cause hot 97 getting their ass kicked so they latching onto "b-b-b-b-b-but we play nyc artists again"
 

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None of these artists you named were new artists in 2003

Which is what Joe Budden alluded to, and main point of the conversation. New NY artists that dropped in 2003 and beyond

Like I said WATCH THE VIDEO and stop getting emotional :mjlol:

Exactly.....new rappers post 50 Cent couldnt blow up due to changing sound and catering to rapid commercialism.

Fif also broke up Dipset, too.
 

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Maybe new york music is fukking boring pump it up guy


Generic ass beat selections and semi-monotone rapping (fabolous, lloyd banks)


Why wouldn’t they be playing shyt that was making bytches ass shake, over music that ONLY MADE YOU NOD YA HEAD.

Radio is in it to make money and new york music is boring af (besides Rocafella and G-Unit)
 
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