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Daily Discussion Thread 05/19/2020 - HipHop

Daily Discussion Thread 05/19/2020 - HipHop

Daily Discussion Thread 05/19/2020

Posted: 19 May 2020 06:24 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

Thread Guidelines

  • Do not create a separate self post for these types of discussions outside of this thread - if you do, your post will be removed, as stated in the guidelines.

  • Please be helpful and friendly.

  • If a question has been asked many times before, provide a link to a thread that contains the answer.

Weekly/Monthly Threads

Other ways to interact

There are a number of other ways to interact with other members of HHH:

New to /r/hiphopheads or hip-hop in general?

Check out these:

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Throwback Write Up #9: Wiz Khalifa & Curren$y - How Fly

Posted: 19 May 2020 07:40 AM PDT

Artist - Wiz Khalifa & Curren$y

Mixtape - How Fly

Listen:

Spotify

Apple Music

YouTube

Background

Years before the superstardom of hits such as Black and Yellow or See You Again, Wiz Khalifa was signed to Rostrum Records and searching for his niche. The young Pittsburgh native released several mixtapes prior to 2009 which generally failed to impress but showed a lot of potential. He had a unique balance of old school, soulful hip-hop and a fun, youthful flair. I'm also sure it goes without saying that he really likes weed. Seriously. With clear influences in Bone Thugz & Harmony, Juicy J, and Snoop Dogg, Wiz would finally breakthrough in 2009 with the release of How Fly and begin one of the genre's greatest mixtape runs (culminating in classics such as Kush & OJ and Taylor Allderice).

Fellow stoner Curren$y had also begun to make a name for himself down south. Following collaborations with Lil Wayne and a spot on the XXL Freshman List, the New Orleans native was following a similar trajectory to Wiz. With each gaining some prolificity in their lanes, their collaboration would convince the game that they had a place among the genre's best.

All it takes is one look at the Cheech & Chong inspired cover art of this mixtape to know what you're in for. Two of hip-hop's most promising young MC's and the game's biggest stoners had teamed up to deliver 53 minutes of soulful, vintage weed raps with an aviation inspired theme. It contains terribly dated references to sports, video games, and more which give it a lot of character. Wiz and Curren$y also show vast knowledge and respect for the genre through countless interpolations and references to classics.

The production is old school smooth, with beats mostly provided by Big Chop, Sledgren, Monsta Beatz (a frequent Curren$y collaborator), and even a gem from DJ Hi-Tek to wrap it all up. The samples are varied and soulful, often sounding straight out of a 60's movie soundtrack and remaining true to the aviation theme. It all feels like a victory lap by two kids who really hadn't made it yet, but they were hungry, confident, and clearly on the way up.

This is an album that I'm sure many of you have a lot of nostalgia for. Whether it was cruising around town on a summer day, vibing with your girl, or obviously rolling one up, there was something for everyone. It was the soundtrack to so many peoples' adolescence and defined a fun, unique era for hip-hop that the average kid could relate to (alongside artists such as Kid Cudi, Blu, and early Drake). Beyond that, this tape was arguably the crown jewel of the Blog Era and helped the two rise to fame in the early 10's mixtape scene. I mean Wiz was pretty much the DatPiff poster boy for years.

Now I love Curren$y but I feel that Wiz really steals the show on this whole tape. His melodic flows, endearing lyrics, and memorable hooks are just so infectious. However, Spitta definitely holds his own and provides a more grounded, southern flavor (with consistently better bars even), which contrasts perfectly with Wiz's huge energy. Their chemistry was really authentic, and they clearly had a lot of fun making this record. How Fly was a match made in heaven and one of my favorite projects ever, so I hope you all enjoy it!

Key Tracks

Car Service

Clear the runway, baby

It's just an iconic opener. Wiz comes in with such infectious delivery which leads up to a subtle beat drop. His prolonged, melodic rhymes do a lot to add personality and the hook is an ear worm. Curren$y brings his signature, lazy southern style and a really impressive rhyme scheme. The beat has so many layers: a short, high pitched vocal sample from Smokey Robinson, subtle whistles, and horns. At the end of the hook, it all chops into a short loop that just culminates perfectly. This is easily one of my favorite intro tracks ever and it's an absolute classic.

The Check Point

I never put my foot on the brake, oh no

This track has a very similar vibe to Car Service but that doesn't do anything to detract from its quality. Another high vocal sample and triumphant tones fill the quota. Curren$y comes through with what might be his best performance on the tape here, with clever flexes and some unexpected references. Wiz's singing on the hook is a bit grating, but the lyrics are still touching and make up for it to an extent. "The Check Point" emphasizes an important theme on this tape: Living without regrets and striving for your dreams. Their chemistry is palpable, and I feel like you can see yourself in them. The hunger, the laidback vibes, and youthful confidence come together to form something special throughout the tape.

Fly N----s Do Fly Things

We already a quarter pound in on this one

This beat has an interesting lo-fi quality to it and some really well done drums. They drive everything along nicely and have some subtle bounce. Wiz's verse starts off a little bit clunky and off beat, but he quickly catches up and delivers well enough. Curren$y comes in with a simple but catchy and clever hook, continuing the album's aviation themes. He also interpolates the staple hip-hop line, "On the road to riches and diamond rings" from both Biggie and Kanye. He has another strong verse, shouting out Wale and referencing the famous Hype Williams film Belly.

In the Middle

And I'm Fucking with the chronic 'cause the chronic give me dopeness

Produced by Big Chop, this has to be the tape's standout beat. Sharing a sample with Snoop Dogg's "Who Am I" — albeit with far less distorted horns — it feels remarkably cinematic. It perfectly elicits the image of an old-school airport or even a campy spy movie. Spitta pays further homage to Snoop as he quotes his verse on "G'z Up Hoes Down". Both come through with their typical subject matter and quality on here, as well as a hook interpolating Andre 3000 on "2 Dope Boyz". Wiz and Curren$y are clearly students of the game with how much knowledge and respect for the culture they display on this tape. Something you might not have expected from two young, fun-loving stoners relatively new to the scene. The beat really steals the show on this track but both MC's do well enough to not drag it down at all.

Layover

Just a dope pair of shoes, Zig Zags and hella tattoos

You've probably noticed a pattern by now: There's nothing particularly profound or varied on this tape but it consistently delivers on its promise of fun, laidback tracks. "Layover" is no exception with its dreamy production and Wiz's cheeky bars. What stands out on this track is their delivery as they intentionally break flow (Spitta at the end of his verse saying, "on a quest like Johnny and Hadgi" and Wiz separating the syllables of "octane"). While a small detail, this adds some subtle variety to a tape with relatively generic themes and structure while showing off their technical skills.

Drunk Dialing

Got these bitches slipping off their wedding rings

Now here's a lighthearted, romantic track. The short, bouncy loop on the beat nicely evokes the image of a fun night on the town. Curren$y sets the scene of his player lifestyle, describing raiding his girl's fridge, playing her son's PS3, and brushing his teeth in the car. Wiz comes in with a really impressive flow and simple, but effective rhyme scheme. He presents a more luxurious twist on Curren$y's verse as he speaks on his romantic life as a young star.

Friendly

We lighting reefer, bumping 808's & Heartbreak

Another track for the ladies, "Friendly" is a perfect example of the pair's chemistry. Curren$y shouting out Wiz's hometown Steelers and references across their verses to Batman make it evident how fun and genuine their friendship is. The beat has a lot going on: Subtle details and the numerous layers give off a scenic, whimsical feeling, although some might find it a bit too busy. The hook is catchy but a bit grating with how distorted it is.

Surface to Air

Crumbling herb just as Big Boi and Andre would suggest

"Surface to Air" has a noir sound similar to "In the Middle" with its rolling, aquatic beat. Curren$y uses missiles as a metaphor for the two star's meteoric rise to the top in rap while resisting the ills of the industry ("It's amazing how I get so high and stay so down to Earth").

Over the Building

Taylor Gang, they rolling up them paper planes

In contrast with "Surface to Air", this track sees the two looking down on the game from their newfound star status. Taking aim at critics ("All them fools make is weed songs"), referencing paparazzi, and never looking back as they speed past the competition. This is another particularly strong beat with its light acoustic guitar and prominent drums.

Rollin' Up

Billionaire clothes, out in Vegas fucking millionaire hoes / I'm in the air solo

A beautiful vocal sample of The Jaggerz' "Memoirs of the Traveler" on this beat (courtesy of DJ Hi-Tek) makes "Rollin' Up" the tape's most essential smoking track. How Fly closes on a somewhat introspective note by Wiz and Spitta's standards. Wiz discusses the loneliness of fame: Fake friends, women who don't truly care about you, and memories of poverty. The two find relief in weed and each other's companionship as they unapologetically commit to their journey and live life to the fullest.

Conclusion

How Fly isn't just an album about getting high. It's about staying true to yourself, forging connections, and chasing your dreams — Things that every listener should be able to relate to. For Wiz Khalifa and Curren$y, it was the start of a legendary run that thrust them into the spotlight. For many people, this project represents a special time in our lives. Youthful and carefree, it was the soundtrack to your high school smoke sessions, road trips, dumb love, and simpler times. Even if you're just now listening, How Fly is mandatory listening for stoners, the backdrop to treasured memories, and the quintessential mixtape of its era.

Favorite Lyrics

Clear the runway baby

I get money from Sunday to Sunday lady

Oh behave I'm young, rich famous

Grinding, keep my pockets on Schwarzenegger

OG in my Swisher so my blunt taste flavored, don't it?

Y'all n----s can get if you want it

Wiz Khalifa, "Car Service"

​

But I don't do drugs, just weed

Caution flags wave, and fuck it I still speed

And proceed to give them what they waiting for

Daytona 500 guess who lighting joints up in the pace car

Play hard, but I work way harder to afford

Curren$y, "The Check Point"

​

Would it be cliché

To start my verse by saying something that I always say,

The Planes got it

I perfected my roll in the science of aeronautics

I swear on my soul I would never cosign no nonsense

Muscle car auction

I just cop it and then garage it

Curren$y, "Fly N----s Do Fly Things"

​

Yeah, 6 am chicks we slay them

Knowing favorite song picks we play them

I ain't on some "oh I'm just some big star shit", but tell you I sure afford it

My lifestyle, all the visuals are gorgeous

Spend nights out couple bitches at the fortress…

Thinking which chick Imma Bruce Lee kick with

Wiz Khalifa, "Drunk Dialing"

​

Smoke filled rooms

Camera lens zoom, from a mile away you can smell the fumes

College girls play me in their iPod or Zune

Even bitches with bad attitudes bumping to our tunes

They high maintenance

Give 'em wings let 'em fly places

Introduce you to high times, flavors, and skyscrapers

Wiz Khalifa, "Surface to Air"

Discussion Questions

  • Favorite track, beats, lyrics, etc.?
  • Did Wiz or Spitta have the better overall performance on this mixtape?
  • How does this project compare to the rest of Wiz and Curren$y's discographies? How does it compare to other mixtapes of its era? (Reminder that the two artists had another collab album recently entitled 2009. Wiz has actually had a small career renaissance recently, returning to his mixtape sound with slept on projects such as Fly Times).
  • People often associate this project with a certain era or events in their lives, making it a strong nostalgia trip. What does this project mean to you personally? Are there any particular memories or feelings that you attach to it?
submitted by /u/colbster411
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Lil Yachty announces Lil Boat 3 release date - May 29th

Posted: 19 May 2020 06:06 PM PDT

Says it will have 19 songs

proof and cover art

submitted by /u/guywiththeeyebrows
[link] [comments]

The Weeknd & Doja Cat announces the remix to “In Your Eyes”

Posted: 19 May 2020 05:27 PM PDT

Yung Lean reveals that Cartis label removed his feature, not Lean himself

Posted: 19 May 2020 05:57 AM PDT

The sample to Black Star's "Thieves In The Night" has finally been discovered. 21 years after it's initial release

Posted: 19 May 2020 02:32 PM PDT

[Fresh Album] $ilkmoney - Attack of the Future Shocked, Flesh Covered, Meatbags of the 85

Posted: 19 May 2020 09:00 PM PDT

20 Years Ago, Eminem's "Stan" Predicted The Dark Side Of Modern Fandom

Posted: 19 May 2020 09:11 PM PDT

J.I.D – Mounted Up

Posted: 19 May 2020 05:23 PM PDT

Future - Xanny Family

Posted: 19 May 2020 03:54 PM PDT

Boogie - Soho (ft. JID) [Official Music Video]

Posted: 19 May 2020 09:58 AM PDT

[FRESH VIDEO] Gunna - WUNNA [Official Video]

Posted: 19 May 2020 12:02 PM PDT

Lil Wayne - Pussy Money Weed

Posted: 19 May 2020 08:11 PM PDT

Billboard Hot 100 Discussion - May 17-23 2020 | Gooba debuts at #3

Posted: 19 May 2020 09:07 AM PDT

Billboard Hot 100 chart

Position Title Artist ▲/▼ Last week Weeks Charting Peak
1 Stuck With U Ariana Grande & Justin Bieber ▲+100 [FRESH] 1 1
2 Say So Doja Cat Featuring Nicki Minaj ▼-1 1 19 1
3 Gooba 6ix9ine ▲+98 [FRESH] 1 3
4 Blinding Lights The Weeknd ▼-1 3 24 1
5 Savage Megan Thee Stallion Featuring Beyonce ▼-3 2 9 2
6 Toosie Slide Drake ▼-2 4 6 1
7 The Box Roddy Ricch ▼-2 5 23 1
8 Rockstar DaBaby Featuring Roddy Ricch ▲+1 9 4 8
9 Don't Start Now Dua Lipa ▼-3 6 28 2
10 Circles Post Malone ▼-2 8 37 1
11 Intentions Justin Bieber Featuring Quavo ▼-1 10 14 8
12 Adore You Harry Styles ▼-1 11 23 6
13 Life Is Good Future Featuring Drake - 13 18 2
14 The Bones Maren Morris ▲+1 15 34 12
15 The Scotts THE SCOTTS, Travis Scott & Kid Cudi ▼-3 12 3 1
16 Roses (Imanbek Remix) SAINt JHN ▲+4 20 8 16
17 My Oh My Camila Cabello Featuring DaBaby ▼-1 16 23 12
18 Someone You Loved Lewis Capaldi - 18 53 1
19 Everything I Wanted Billie Eilish ▼-2 17 27 8
20 Blueberry Faygo Lil Mosey ▲+2 22 14 16
21 Chasin' You Morgan Wallen ▲+2 23 16 21
22 Falling Trevor Daniel ▲+6 28 26 22
23 I Hope Gabby Barrett ▼-2 21 20 16
24 Memories Maroon 5 ▲+2 26 34 2
25 Nobody But You Blake Shelton Duet With Gwen Stefani ▼-1 24 18 18
26 High Fashion Roddy Ricch Featuring Mustard ▲+7 33 20 20
27 Death Bed Powfu Featuring beabadoobee ▲+4 31 9 26
28 Does To Me Luke Combs Featuring Eric Church ▲+8 36 9 28
29 Sunday Best Surfaces ▲+8 37 11 28
30 RITMO (Bad Boys For Life) The Black Eyed Peas X J Balvin ▲+8 38 25 26
31 Break My Heart Dua Lipa ▲+9 40 7 21
32 Whats Poppin Jack Harlow ▲+12 44 14 32
33 Be Kind Marshmello & Halsey ▼-4 29 2 29
34 I Hope You're Happy Now Carly Pearce & Lee Brice ▲+16 50 19 34
35 Hot Girl Bummer blackbear ▲+8 43 35 11
36 Beer Can't Fix Thomas Rhett Featuring Jon Pardi ▲+5 41 9 36
37 Before You Go Lewis Capaldi ▲+16 53 15 37
38 After A Few Travis Denning ▲+10 48 7 38
39 Supalonely BENEE Featuring Gus Dapperton ▲+15 54 9 39
40 Heart On Ice Rod Wave ▲+6 46 27 25
41 Ballin' Mustard & Roddy Ricch ▲+6 47 43 11
42 Dance Monkey Tones And I ▲+7 49 32 4
43 3 Headed Goat Lil Durk Featuring Lil Baby & Polo G ▲+58 [FRESH] 1 43
44 Hard To Forget Sam Hunt ▲+11 55 7 40
45 Sum 2 Prove Lil Baby ▲+12 57 18 16
46 Chicago Freestyle Drake Featuring Giveon ▼-32 14 2 14
47 Level Of Concern twenty one pilots ▲+13 60 5 23
48 Party Girl StaySolidRocky ▲+16 64 3 48
49 Righteous Juice WRLD ▼-7 42 3 11
50 Can I Kehlani Featuring Tory Lanez ▲+51 [FRESH] 1 50
51 Pain 1993 Drake Featuring Playboi Carti ▼-44 7 2 7
52 Walk Em Down NLE Choppa Featuring Roddy Ricch ▲+15 67 8 52
53 Dior Pop Smoke ▲+10 63 13 30
54 In Your Eyes The Weeknd ▲+8 62 8 16
55 We Paid Lil Baby & 42 Dugg ▲+6 61 2 55
56 Emotionally Scarred Lil Baby - 56 11 31
57 Bluebird Miranda Lambert ▲+19 76 6 57
58 Heartless Diplo Presents Thomas Wesley Featuring Morgan Wallen ▲+8 66 16 57
59 Here And Now Kenny Chesney ▲+9 68 6 59
60 Turks NAV, Gunna & Travis Scott ▲+31 91 7 17
61 If The World Was Ending JP Saxe Featuring Julia Michaels ▲+10 71 7 59
62 Ride It. Regard ▲+12 74 5 62
63 After Party Don Toliver ▲+21 84 4 63
64 Yo Perreo Sola Bad Bunny ▲+9 73 9 53
65 Zoo York Lil Tjay Featuring Fivio Foreign & Pop Smoke ▲+36 [FRESH] 1 65
66 P*$$y Fairy (OTW) Jhene Aiko ▲+13 79 17 40
67 Out West JACKBOYS Featuring Young Thug ▲+10 77 18 38
68 Toxic Kehlani ▲+33 [FRESH] 1 68
69 One Margarita Luke Bryan ▲+18 87 2 69
70 Believe It PARTYNEXTDOOR & Rihanna ▲+10 80 7 23
71 I'm Ready Sam Smith & Demi Lovato ▲+1 72 4 36
72 In Between Scotty McCreery ▲+13 85 5 72
73 More Hearts Than Mine Ingrid Andress ▼-4 69 20 30
74 I Love My Country Florida Georgia Line ▲+25 99 4 74
75 I Love Me Demi Lovato ▼-5 70 10 18
76 Go Crazy Chris Brown & Young Thug ▲+25 [FRESH] 1 76
77 D4L Future, Drake & Young Thug ▼-58 19 2 19
78 Godzilla Eminem Featuring Juice WRLD ▲+4 82 17 3
79 All In Lil Baby ▼-20 59 3 45
80 Change Your Life Kehlani Featuring Jhene Aiko ▲+21 [FRESH] 1 80
81 God Whispered Your Name Keith Urban ▲+8 89 4 81
82 Die From A Broken Heart Maddie & Tae ▲+12 94 5 80
83 Catch Brett Young ▼-5 78 16 29
84 Don't Rush Young T & Bugsey Featuring Headie One ▲+16 100 2 84
85 Desires Drake Featuring Future ▼-58 27 2 27
86 Be A Light Thomas Rhett Featuring Reba McEntire, Hillary Scott, Chris Tomlin & Keith Urban ▲+9 95 6 71
87 Jump DaBaby Featuring YoungBoy Never Broke Again ▼-4 83 4 17
88 Me Vs Me Moneybagg Yo ▲+13 [FRESH] 1 88
89 Drinking Alone Carrie Underwood ▲+12 [FRESH] 2 89
90 Six Feet Apart Luke Combs ▼-32 58 2 58
91 Viral Moment Lil Durk ▲+10 [FRESH] 1 91
92 Sigues Con El Arcangel x Sech ▲+9 [FRESH] 2 78
93 Homemade Jake Owen ▼-1 92 16 39
94 Time Flies Drake ▼-64 30 2 30
95 Grace Lil Baby & 42 Dugg ▼-7 88 9 48
96 Slow Dance In A Parking Lot Jordan Davis ▼-6 90 19 37
97 You Should Be Sad Halsey ▼-4 93 18 26
98 That Way Lil Uzi Vert ▲+3 [FRESH] 10 20
99 Demons Drake Featuring Fivio Foreign & Sosa Geek ▼-65 34 2 34
100 July Noah Cyrus & Leon Bridges ▲+1 [FRESH] 10 85

Notes

  • 6ix9ine's "Gooba" debuts at #3

  • Ariana Grande & Justin Bieber's "Stuck With U" has debuted at #1

  • "Stuck With U" is the first song to reach #1 this year that isn't hip hop or hip hop adjacent (Mariah Carey reached #1 in December 2019)

Billboard 200 chart

Position Title Artist Sales Change Last week Weeks Charting
1 Good Intentions NAV 133,478 (70,783 pure) -- [FRESH] 1
2 It Was Good Until It Wasn't Kehlani 81,970 (24,362 pure) -- [FRESH] 1
3 Dark Lane Demo Tapes Drake 80,010 (1,622 pure) -65% 2 2
4 My Turn Lil Baby 66,084 (478 pure) -27% 3 11
5 Just Cause Y'all Waited 2 Lil Durk 55,957 (3,107 pure) -- [FRESH] 1
6 BLAME IT ON BABY DaBaby 43,017 (447 pure) -8% 4 4
7 Las Que No Iban A Salir Bad Bunny 39,828 (7,931 pure) -- [FRESH] 1
8 Eternal Atake Lil Uzi Vert 42,507 (909 pure) -4% 5 10
9 After Hours The Weeknd 39,900 (2,925 pure) -10% 6 8
10 Hollywood's Bleeding Post Malone 35,475 (1,260 pure) -5% 8 36

Frequently Asked Questions:

Q: Why is X artist higher than Y artist on the 200 chart, even though X artist sold less?

A: This is because of a discrepancy between Billboard's ranking and the ranking from the website that the sales data is scraped from

Q: Where do you get the sales data from?

A: https://hitsdailydouble.com/sales_plus_streaming

submitted by /u/RobYaLunch
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6LACK - Let Her Go

Posted: 19 May 2020 07:48 AM PDT

Czarface & MF DOOM - Phantoms ft. Open Mike Eagle & Kendra Morris

Posted: 19 May 2020 08:21 PM PDT

City Morgue (ZillaKami) - ACAB ft. Nascar Aloe

Posted: 19 May 2020 09:36 AM PDT

Lil Baby - All Of A Sudden (ft Moneybagg Yo)

Posted: 19 May 2020 09:52 PM PDT

The Underachievers - The Dualist

Posted: 19 May 2020 06:17 AM PDT

[FRESH] Danger Incorporated - Frankenstein

Posted: 19 May 2020 09:03 PM PDT

Kodak Black - Testimony

Posted: 19 May 2020 08:06 PM PDT

[Fresh Video] Da$H - Gangsta Pat Freestyle (prod. $crim)

Posted: 19 May 2020 09:29 AM PDT

[FRESH VIDEO] MEDHANE - I'M DEADASS

Posted: 19 May 2020 07:24 AM PDT

Fabolous - Breathe

Posted: 19 May 2020 02:09 PM PDT

[FRESH] King Von - Broke Opps (Official Video)

Posted: 19 May 2020 12:42 PM PDT
at

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

Thread Guidelines

  • Do not create a separate self post for these types of discussions outside of this thread - if you do, your post will be removed, as stated in the guidelines.

  • Please be helpful and friendly.

  • If a question has been asked many times before, provide a link to a thread that contains the answer.

Weekly/Monthly Threads

Other ways to interact

There are a number of other ways to interact with other members of HHH:

New to /r/hiphopheads or hip-hop in general?

Check out these:

submitted by /u/ModsLittleHelper
[link] [comments]

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

submitted by /u/TheRoyalGodfrey
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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

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

Posted: 18 May 2020 06:57 AM PDT

Future - Accepting My Flaws

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[FRESH VIDEO] Future - Hard To Choose One

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(MF DOOM) King Geedorah - Fazers

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

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

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

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[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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