Daily Discussion Thread 05/18/2020 - HipHop | HipHop Channel

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Daily Discussion Thread 05/18/2020 - HipHop

Daily Discussion Thread 05/18/2020 - HipHop

Daily Discussion Thread 05/18/2020

Posted: 18 May 2020 09:50 AM PDT

Welcome to the /r/hiphopheads daily discussion thread!

This thread is for:

  • objective questions with right/wrong answers (e.g. "Does anyone know what is happening with MIXTAPE?", "What is the sample in SONG?")
  • general hip-hop discussion
  • meta posts...e.g. ideas for the sub

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6ix9ine/Billboad/Ariana Grande/Justin Bieber Megathread

Posted: 18 May 2020 02:35 PM PDT

Two days ago, 6ix9ine claimed that Billboard gets paid for chart toppers on their Hot 100 list and does this by manipulating the charts. Here is the thread for that

He cited a forecast from Thursday that had "Stuck With You" at #4 in the chart and said that on Thursday night, an additional 60k units were submitted, putting the song over the top. He calls this "completely illegal."

A potential explanation behind these mystery 60k units from Thursday night involves a CD deal that Grande/Bieber did. They did a $5 signed CD deal for charity from Wednesday to Friday.. Billboard's editorial arm also posted about this, 6ix9ine cites this in his rant.

He also mentioned that his song has twice as many streams as all the others. YouTube views (and ad-supported Spotify) are weighted half as much as on demand streams and 300x less than an actual sale.

He also say that Sony/Universal put an audit in for Doja Cat's "Say So" being at #3.

Today, in an Instagam video, he said that he's in contact with Slyvio Pietroluongo, who's the Senior Vice President of Charts & Data Development. The investigation he describes allegedly found that "they purchased half of those things with 6 credit cards." 6ix9ine's team asked who the credit cards and linked to and Billboad said they cannot disclose that information.

He also claimed that GOOBA has 50m streams, yet Billboard only counted 31m. He claims they "illegal disqualified 20M streams"

Scooter Braun, manager for Bieber and Grande, said via Instagram comment:

  1. Only domestic streams are counted for the Hot 100. This is true. It is unclear whether or not the spreadsheet that 6ix9ine motioned at was for domestic or worldwide. The 200M YT views in the first comment certainly would not all be counted.

  2. Sales aren't disclosed until the end of the week, thus projections from before then aren't 100% accurate.

  3. Nielsen and Billboard rules state clearly that one credit card can buy a max of four copies. Anything more than that gets sold out. This is reviewed and confirmed.

  4. The investigation this week was into the GOOBA video, which he alleges had 6 times the paid bot activity than is average.

Ariana Grande also said this on Instagram:

thank u to everybody who supported this song, this cause and made this happen. we love uuuuu so much. 🤍 there's so much to celebrate today. 🤍 however, i would like to say a few things. anyone who knows me or has followed me for a while knows that numbers aren't the driving force in anything i do. i'm grateful to sing. grateful to have people who want to listen. grateful to even be here at all. i didn't have a number one for the first five years of my career and it didn't upset me at all because from the bottom of my heart, music is everything to me. my fans are everything to me. i promise i couldn't ask for another fucking thing. so with this celebration today, i would like to address a few things which i don't usually do (i don't give my energy to drama or strange accusations normally but this has gone a little too far)...my fans bought the song. JUSTIN'S fans bought the song. OUR fans bought this song (never more than four copies each, AS THE RULES STATE). they are ride or die motherfuckers and i thank god every day that i have them in my life. not just when they fight for us to win (even when i ask them not to as i did this week) but because they're some of the greatest people i know. sales count for more than streams. u can not discredit this as hard as u try. to anybody that is displeased with their placement on the chart this week or who is spending their time racking their brain thinking of as many ways as they can to discredit hardworking women (and only the women for some reason.....), i ask u to take a moment to humble yourself. be grateful you're even here. that people want to listen to u at all. it's a blessed position to be in. i've had a lot of "almost number ones" in my career and i never said a goddamn thing because I FEEL GRATEFUL TO EVEN BE HERE. TO WANT TO BE HEARD AT ALL .... and you should feel that way too. congratulations to all my talented ass peers in the top ten this week. even number 3. 🥰 and thank u to @billboard for this honor. and thank u to everybody who helped us raise a lot of money for a very important cause this week. love u all a lot.

If anyone has more information, it will be added to the post. Don't make more threads about this. This is the thread. If anyone has more info about the screenshots of excel sheets that 6ix9ine was holding up, that would be helpful in verifying his claim

6ix9ine responded to Ariana with an IG video, captioned::

@arianagrande All I'm saying is I worked super hard to make it out of Brooklyn NY. I speak for the millions of kids who aren't as fortunate as you. The millions who weren't fortunate to be on T.V.. LIFE is REAL when you're on welfare LIFE is REAL when you grow up with out a father. You don't know what that is like. You say for me to be humble .... I don't think you know what humble is.......... YOU ARE VERY TALENTED AND BEAUTIFUL GOD BLESS YOU. But you will NEVER UNDERSTAND MY PAIN 💯

EDIT:

From Justin Bieber's IG Story, he basically reiterates Scooter's points (domestic/global streams account for 20M "lost streams", 4 purchases is max per credit card, Neilson confirmed the sales are legit)

EDIT: Billboard statement

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Deadmau5 announces new collaboration with The Neptunes (Pharrell Williams & Chad Hugo) called "Pomegranate"

Posted: 18 May 2020 09:10 AM PDT

Fat Joe revealed that Eminem sent him 30 different versions of his 'Lean Back Remix' verse each with different flow, cadence and delivery. He had to make him stop

Posted: 18 May 2020 07:13 PM PDT

Future - High Off Life ALBUM REVIEW

Posted: 18 May 2020 07:23 PM PDT

KEY! announces new album "I LOVE YOU SAY IT BACK" dropping June 4th

Posted: 18 May 2020 09:09 AM PDT

Mac Miller - Isn't She Lovely (Stevie Wonder Cover)

Posted: 18 May 2020 06:57 AM PDT

Future - Accepting My Flaws

Posted: 18 May 2020 06:24 PM PDT

[FRESH VIDEO] Future - Hard To Choose One

Posted: 18 May 2020 09:04 AM PDT

(MF DOOM) King Geedorah - Fazers

Posted: 18 May 2020 08:46 PM PDT

Childish Gambino - 3005 (Beach Picnic Version) [Secret Track]

Posted: 18 May 2020 08:34 AM PDT

Calvin Harris - Cash Out (ft. ScHoolboy Q, DRAM & PARTYNEXTDOOR)

Posted: 18 May 2020 09:33 AM PDT

A Tribe Called Quest & De La Soul on MTV Unplugged in 1991

Posted: 18 May 2020 04:04 PM PDT

[FRESH VIDEO] SAINt JHN - Ransom

Posted: 18 May 2020 11:05 AM PDT

Gunna - WUNNA Documentary [Part 1]

Posted: 18 May 2020 01:09 PM PDT

[LEAK] Mac Miller - Pure

Posted: 18 May 2020 11:33 AM PDT

Westside Gunn - RIP Bobby (ft. Conway) (prod. Daringer & Alchemist)

Posted: 18 May 2020 05:40 PM PDT

[DISCUSSION] 10 Essential Brazilian hip-hop records from the 2010's

Posted: 18 May 2020 10:15 PM PDT

Hey everyone, I've noticed that brazilian hip-hop is not a frequent topic here, so I thought maybe some of you would be interested in knowing a little more about it, so I decided to post this so y'all can get to know some important brazilian MCs and records that have been relevant in the 2010's, with a bit of info about it (the context in which it was released, why it's important, etc). If you are brazilian this may not be too interesting to you since may know most of the artists I'll show here, but other records are also welcome in the comments.

So here we go,

  1. Nó na Orelha, by Criolo - 2011

In the early 2010's Brazilian hip-hop was starting a comeback with MC's like Criolo and Emicida releasing critically and commercially successful songs and records, which led them (and brazilian hip-hop) to be more accepted in the mainstream media and among the highly acclaimed artists of Brazil like Milton Nascimento and Caetano Veloso. This record features a mix of hip-hop and brazilian genres like samba, MPB and brega, and 'Não Existe Amor em SP' is by now a classic. Criolo has recently been criticized for many factors, but no one can deny the importance he has for brazilian hip-hop.

  1. O Glorioso Retorno de Quem Nunca Esteve Aqui, by Emicida - 2013

As said before, Emicida plays a major role in the growing of hip-hop in Brazil, not only for its commercial and critical success, but also because of his role in the disclosure of hip-hop battles and underground hip-hop scene overall, just like Criolo, he quickly became a known figure in Brazil's mainstream. In this record, Emicida also showcases a mix of brazilian genres with hip-hop, but with a different approach, often using a more spoken flow, and bringing themes that are relatable to lower classes in a more direct way.

  1. Castelos & Ruínas, by BK' - 2016

During the mid 2010's hip-hop was having a lot of transformations in Brazil, MC's that emerged in the early 2010's like Criolo and Emicida had already reached mainstream, and a whole new generation was coming up, a lot more "internet-oriented" and bringing new stuff from american hip-hop. There was also a lot of discussion towards race, since many white rappers were having a lot of popularity in this new generation (and some black ones weren't). In this context, BK', a well-known MC in Rio de Janeiro's underground scene for his work in the group Nectar Gang, releases a solo album. Very lyrical and thoughtful, it naturally grew in popularity within time, making BK' one of the most respected rappers by 2017, and bringing a new level for hip-hop albums in Brazil.

  1. Heresia, by Djonga - 2017

Djonga is an MC that emerged in the same context as BK', gaining particular popularity in his group DV Tribo, from Minas Gerais. 'Heresia' was released when Djonga was getting a lot of hype for his individual work, he became known for his very aggressive and political style, which once again showed up in this record, in a more polished way than his previous work, but still very straightforward and political. Althought this record is also braggadaccious sometimes, it's more about racial and class tensions, bringing back a lot of the approach 90's MC's like Racionais and Facção Central had to political issues, but in a more ironic and "updated" way.

  1. Roteiro pra Ainouz, vol. 3, by Don L - 2017

As y'all can see, the mid 2010's were huge in brazilian hip-hop, a lot of fresh stuff was being produced and released, but Don L was not a new face in brazilian hip-hop, since he was part of Costa a Costa, a group from Ceará, in the northeast, that had some prominence in the 2000's underground hip-hop, when Don L moved to São Paulo to work with music. This record was released a few months after 'Sulicidio', a diss track from northeastern MC's Baco Exu do Blues and Diomedes Chinaski, in which they dissed a lot of rappers from São Paulo and Rio de Janeiro, and started a huge discussion about the predominance of São Paulo and Rio in the music industry, which led to northeastern MCs having a lot of attention. Don L brings a melodic album, incredibly well produced for brazilian hip-hop's patterns, about the problems of the northeast, his struggle following his goals in São Paulo, relationships and a lot more.

  1. Regina, by niLL - 2017

Also part of this newer generation of rappers, niLL is probably one of the most internet influenced MCs of the 2010's, as can be noticed in the cloud rap influenced instrumentals of 'Regina', as well as in the voice messages between tracks, and lyrics about relationships in the technology era. But this is also a very personal record, in which niLL talks a lot about his family, it brings totally new topics to brazilian hip-hop, as well as a few new instrumental and production features.

  1. Esu, by Baco Exu do Blues - 2017

After 'Sulicidio', Baco received a lot of attention from the whole hip-hop scene, releasing some songs with MCs like BK', Djonga and Diomedes Chinaski, he definitely explored the hype well. In 2017, the MC from Bahia slightly changed his aggressive style to a more artsy one, releasing Esú, an album where he brought up some afro-brazilian influences, like Candomblé music, political lyrics and many other topics like sex, race and religion. He has reached mainstream for good in the last few years with his second album Bluesman, but Esú is still his most deep and conceptual project so far.

  1. Galanga Livre, by Rincon Sapiencia - 2017

Althought Rincon was in the hip-hop scene for a while back in the day, he went really popular in brazilian hip-hop with 'Ponta de Lança', which featured a very unique instrumental, influenced by funk carioca and african music. In 'Galanga Livre' Rincon brings what everyone expected: afro-brazilian influences, fashion, racial relations and a lot of lyrical songs.

  1. Sem Cortesia, by Sintese - 2012

Unlike Emicida and Criolo, Sintese never truly got out of the underground in Brazil, despite being very respected in the brazilian hip-hop scene. Back in 2012's Sintese was something totally new, bringing a deepness brazilian hip-hop wasn't used to, rapping about things like depression, spirituality and drugs, Sintese also brought the countryside problems to brazilian hip-hop.

  1. Seguimos na Sombra, by Nectar (aka Nectar Gang) - 2015

Despite all the praise BK' has in brazilian hip-hop, Nectar Gang members CHS, Bril, JXNV$, and Nectar as a group never reached mainstream, staying a respected group in the hip-hop scene. But the reason I'm choosing this mixtape is because of the influence it has over what happened in brazilian hip-hop in the following years; Nectar was very aware of what was happening in the US and the UK, bringing many elements that were still unknown in brazilian hip-hop, while maintaning a brazilian aesthetic. They also were one of the responsibles of bringing funk carioca to hip-hop, and helping shape the image of Rio's hip-hop. 'Seguimos na Sombra' is all about the streets of Rio as seen by Nectar Gang boys living in the areas of Catete, Glória and Lapa.

Edit: typo

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Capital STEEZ - Emotionless Thoughts

Posted: 18 May 2020 09:09 AM PDT

The Roots - Step Into The Realm

Posted: 18 May 2020 11:41 PM PDT

Conway the Machine - No One Mourns the Wicked, now on streaming other than Spotify/Apple Music

Posted: 18 May 2020 03:59 AM PDT

Cryme Tyme - Bringin Da Hood T U [RIP SHAD]

Posted: 18 May 2020 01:39 PM PDT

Renegedes Royce Da 5' 9 Eminem (ORIGINAL)

Posted: 19 May 2020 12:26 AM PDT

[FRESH VIDEO] KYLE-What It Is (Official Music Video)

Posted: 18 May 2020 09:00 AM PDT

[DISCUSSION] Public Enemy - Fear of a Black Planet (30 Years Later)

Posted: 18 May 2020 10:58 AM PDT

Fear of a Black Planet is the third studio album by American hip hop group Public Enemy. It was released on April 10, 1990, by Def Jam Recordings and Columbia Records.

For the album, Public Enemy's Bomb Squad production team sought to expand on the dense, sample-layered sound of the group's 1988 record It Takes a Nation of Millions to Hold Us Back. Having fulfilled their initial creative ambitions with that album, Public Enemy aspired to create what lead rapper Chuck D called "a deep, complex album". Their songwriting was partly inspired by the controversy surrounding member Professor Griff and his dismissal from the group in 1989.

Fear of a Black Planet features elaborate sound collages that incorporate varying rhythms, numerous samples, media sound bites, and eccentric loops, reflecting the songs' confrontational tone. Recorded during the golden age of hip hop, its assemblage of reconfigured and recontextualized aural sources preceded the sample clearance system that later emerged in the music industry. Fear of a Black Planet explores themes of organization and empowerment within the black community, social issues affecting African Americans, and race relations at the time. The record's criticism of institutional racism, white supremacy, and the power elite was partly inspired by Dr. Frances Cress Welsing's views on color.

A commercial and critical hit, Fear of a Black Planet sold two million copies in the United States and received rave reviews from critics, many of whom named it one of the year's best albums. Its success contributed significantly to the popularity of Afrocentric and political subject matter in hip hop and the genre's mainstream resurgence at the time. Since then, it has been viewed as one of hip hop's greatest and most important records, as well as being musically and culturally significant. In 2003, Fear of a Black Planet was ranked number 300 on Rolling Stone's list of the 500 greatest albums of all time. In 2005, the Library of Congress added it to the National Recording Registry.

Background

In 1988, Public Enemy released their second album It Takes a Nation of Millions to Hold Us Back to critical and commercial success. Their music's dense textures, provided by the group's production team The Bomb Squad, exemplified a new production aesthetic in hip hop. The controversial, politically charged lyrics by the group's lead rapper Chuck D, whose braggadocio raps contained references to political figures such as Assata Shakur and Nelson Mandela, as well as endorsements of Nation of Islam-leader Louis Farrakhan, intensified the group's affiliation with black nationalism and Farrakhan.

It Takes a Nation's success helped raise hip hop's profile as both art and sociopolitical statement, amid media criticism of the genre. It helped give hip hop a critical credibility and standing in the popular music community after it had been largely dismissed as a fad since its introduction at the turn of the 1980s. In promoting the record, Public Enemy expanded their live shows and performing dynamic. With the album's content and the group's rage-filled showmanship in concert, they became the vanguard of a movement in hip hop that reflected a new black consciousness and socio-political dynamic that were taking shape in America at the time.

In May 1989, Chuck D, Bomb Squad producer Hank Shocklee, and publicist Bill Stepheny were negotiating with several labels for a production deal from a major record company, their goal since starting Public Enemy in the early 1980s. As they were in negotiations, group member Professor Griff made anti-Semitic remarks in an interview with The Washington Times, in which he said that Jews were the cause of "the majority of the wickedness" in the world. Public Enemy received media scrutiny and criticism from religious organizations and liberal rock critics, which added to charges against the group's politics being racist, homophobic, and misogynistic.

Amid the controversy, Chuck D was given an ultimatum by Schocklee and Stepheny to dismiss Griff from the group or the production deal would fall through. He fired Griff in June, but he later rejoined and has since denied holding anti-Semitic views and apologized for the remarks. Several people who had worked with Public Enemy expressed concern about Chuck D's leadership abilities and role as a social spokesman. Def Jam director of publicity Bill Adler later said that the controversy "partly ... fueled the writing of [the album]".

To follow up It Takes a Nation of Millions to Hold Us Back, the group sought to make a more thematically focused work and to condense Dr. Frances Cress Welsing's theory of "Color Confrontation and Racism (White Supremacy)" into an album-length recording. According to Chuck D, this involved "telling people, well, color's an issue created and concocted to take advantage of people of various characteristics with the benefit of a few". He recalled their concept for the album in an interview with Billboard: "We wanted really to go with a deep, complex album ... more conducive to the high and lows of great stage-performance." Chuck D also cited the commercial circumstances for hip hop at the time, having quickly transitioned from a singles to an album medium in the music industry during the 1980s. In an interview for Westword, he later said, "We understood the magnitude of what an album was, so we set out to make something that not only epitomized the standard of an album, but would stand the test of time by being diverse with sounds and textures, and also being able to home in on the aspect of peaks and valleys".

Recording and production

Fear of a Black Planet was recorded at three studios—Greene St. Recording in New York City, The Music Palace in West Hempstead, and Spectrum City Studios in Hempstead—from June to October 1989. It was produced by The Bomb Squad—Chuck D, Eric "Vietnam" Sadler, Keith Shocklee, and his brother Hank Shocklee—while Chuck D called Hank, their director, "the Phil Spector of hip-hop". Keith, significant in composing the main tracks and music, received here his first official credit as a team member. For the album, they sought to expand on the dense, sample-layered "wall of noise" of Public Enemy's prior album, It Takes a Nation of Millions to Hold Us Back.

Employing an elaborate method, the Bomb Squad reconfigured and recontextualized disparate sound fragments, while expanding their repertoire of samples to radio and other sources. According to Shocklee, "When you're talking about the kind of sampling that Public Enemy did, we had to comb through thousands of records to come up with maybe five good pieces. And as we started putting together those pieces, the sound got a lot more dense." Hank Shocklee called it "a production assembly line where each person had their own particular specialty ... [Shocklee] came from a DJ's perspective. Eric [Sadler] is coming from a musician's perspective." Sadler's approach was more traditional and structured, while Shocklee's was more experimental. As the main lyricist, Chuck D wanted to recontextualize the sampled material into his lyrics and create a theme.

The Bomb Squad used devices including the E-mu SP-1200 drum machine and sampler, the Akai S900 sampler, and a Macintosh computer. Chuck D remarked that "95 percent of the time it sounded like mess. But there was 5 percent of magic that would happen." Shocklee compared their production to filmmaking, "with different lighting effects, or film speeds, or whatever", while Chuck D analogized to an artist creating green from yellow and blue. As he had the production team improvise beats, much of the album was composed on the spot. In a 1990 interview, Chuck added, "We approach every record like it was a painting. Sometimes, on the sound sheet, we have to have a separate sheet just to list the samples for each track. We used about 150, maybe 200 samples on Fear of a Black Planet."

To synchronize the samples, the Bomb Squad used SMPTE timecodes and arranged and overdubbed parts of backing tracks, which had been inspected by the members for snare, bass, and hi-hat sounds. Chuck D said, "Our music is all about samples in the right area, layers that pile on each other. We put loops on top of loops on top of loops, but then in the mix we cut things away." Their production was innovative, according to journalist Jeff Chang. "They're figuring out how to jam with the samples and to create these layers of sound," Chang said. "I don't think it's been matched since then." After the tracks were completed, the Bomb Squad began sequencing what was at first a seemingly discontinuous album, amid internal disputes. Final mixing took place at Greene St. Recording and lasted until February 1990. According to Sadler, "a lot of people were like, 'Wow, it's a brilliant album'. But it really shoulda been much better. If we had more time and we didn't have to deal with the situation of nobody talking".

Fear of a Black Planet was conceived during the golden age of hip hop, a period roughly between 1987 and 1992 when artists took advantage of emerging sampling technology before record labels and lawyers took notice. Accordingly, Public Enemy were not compelled to obtain sample clearance for the album. This preceded the legal limits and clearance costs later placed on sampling, which limited hip hop production and the complexity of its musical arrangements. In an interview with Stay Free!, Chuck D said: "Public Enemy's music was affected more than anybody's because we were taking thousands of sounds. If you separated the sounds, they wouldn't have been anything--they were unrecognizable. The sounds were all collaged together to make a sonic wall."[26] An analysis by law professors Peter DiCola and Kembrew McLeod estimated that under the sample clearance system that developed after the album's release, Public Enemy were to lose at least five dollars per copy if they were to clear the album's samples at 2010 rates, a loss of five million dollars on a platinum record.

For the track "Burn Hollywood Burn", Chuck D dealt with clearance issues from different record labels to collaborate with rappers Big Daddy Kane and Ice Cube, who had been pursuing the Bomb Squad to produce his debut album. The recording marked one of the first times in which MCs from different rap crews collaborated, and it led to the Bomb Squad working with Ice Cube on his 1990 debut album AmeriKKKa's Most Wanted.

For the album's artwork, Public Enemy enlisted B.E. Johnson, a NASA illustrator. His design illustrated Chuck D's concept of two planets, the "Black" planet and Earth, eclipsing. Cey Adams, creative director for Def Jam at the time, said: "It was so interesting to me that a black hip-hop act did an illustration for their album cover. At that time, black hip-hop artists, for the most part, had photos of themselves on their covers. But this was the first time someone took a chance to do something in the rock'n'roll vein".

...

The rest of the Wikipedia page is honestly worth a look, it's very thorough.

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In a spurt of quarantine induced creative productivity, I wrote a track by track dissection of Acid Rap analysing each track finding lyrical meanings within the bars, production stories and fun facts which I have collected together from deeply researching each track. I'd appreciate feedback!

Posted: 18 May 2020 03:51 PM PDT
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