Cultural Vultures Are Taking Rap Over
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Like Water wrote: »konceptjones wrote: »Like Water wrote: »konceptjones wrote: »Like Water wrote: »konceptjones wrote: »konceptjones wrote: »That's not the beginnings tho... hip-hop is older than all those guys careersThe Recipe wrote: »
How is it cultural appropriation when whites (and latinos for that matter) were a part of it from day one?
? WHITES WERE NOT IN IT FROM DAY ONE they jumped on it to get money and fame. Well after all the arts of hip hop were established
Latinos however that another matter
The core elements of hip hop are B-boying, Grafitti, Turntablism, and Rapping.
NYC's B-boying borrowed heavily from LA's locking. The Campbell Lockers, later named just The Lockers, was a dance crew from LA that originated pop-locking that had among it's original members in 1971(and throughout the 70's) Toni Basil, the white chick that went on to 1-hit wonder fame with the song "Hey Mickey" in '81. Plenty of those old NYC B-Boy crews had whites in their rosters with a lot of them being chicks.
White Graf artists were around in NYC back in the early 70's doing work right alongside Black and Latino artists. Cats like Bil Rock, Min, and a whole slew of other white dudes were very active bombing back in the day and very much integrated into the Graf scene.
DJ's? From the late 70's throughout the 80's there's always been a few white cats though they were always overshadowed by Black and Latino DJ's.
Rappers: This is the sole place where Black men had exclusivity with the formation of hip hop. Granted, white cats were a part of the early hip hop sound of they late 70's and early 80's as the creators of some of hip hop's most memorable joints from the early 80's (like the aforementioned Man Parrish, Gordon Bahary, and Arthur Baker), but as far as MC's go this was the Black man's stronghold until 1983 when the Beastie Boys dropped "Cooky ? ".
In the early 80's there was almost no money in hip hop and the only fame there was to be had was likely local to your immediate area or region. They didn't do it for fame or money, but to say "I did that".
C'mon, bruh. You know damn well muthafuckas like Post Malone and Lil Peep are nothing like the white boys that helped formulate the sound of hip-hop. That shouldn't even need to be stated. Smh.
You're making unnecessary points. No one is talking about proven acts like The Beastie Boys here.
The point I was making was how do you call white rappers "cultural appropriators" when white dudes have been around since the very beginning of hip hop? They were a part of the formation of hip hop as a whole, so there's nothing about their presence that says, to me, they're appropriating the culture. They were b-boys, they were graf aritst, they were dj's they were producers, they were MC's (though admittedly few at first), so how does that work? Are they not entitled to have a claim to hip hop like we do?
Because the people that you're talking about are not like the ones everyone is referring to. They are not one and the same.
People like Alchemist, Harry Fraud, Action Bronson, Em... Yeah, they're entitled to have a claim to hip-hop because they put in the work and are proven. They're not caricatures.
If you wanna tell me that Action Bronson and Post Malone should be categorized the same and should have an equal claim, ? , then I don't know what to tell you.
Should Future, Migos, Fetty Wap and not one of these other mumble mush mouf ass "rappers"? 'Cause I can't understand yet how the ? "music" they're pushing is being accepted with open arms as a part of "rap".
Migos and Future have their place. And how you gon try and straw man the convo? I'm not talking about Future and nem right now.
Although, it could be argued that the bar has been lowered, in terms of rap being a craft that rappers take serious, since the rise of a few artists. That much is plausible.
But Post Malone is not the only vulture here either. I think Yachty and Uzi are examples of vultures as well. Anybody lookin to make a quick buck, while neglecting the genre, its history, and the skill required to be halfway decent, is a vulture in my eyes.
I just don't say they're stealing culture because they're black. We may not have much, but hip-hop is a part of black culture, for better or worse.
This entire reply is where I wanted to get to in this whole convo.
While you wouldn't include Future and Migos, I do. The way I see it, they're in if for a paycheck and nothing more. Just like all those cats that came through callin themselves "producers" with cracked FL Studio or Reason runnin' Blue Light Specials "5 exclusives for $10" during the height of the "super producer" craze. They had no real love for hip hop, no connection to what was here before as a way to move it forward.
What you said right here is what I want everyone to think about:Anybody lookin to make a quick buck, while neglecting the genre, its history, and the skill required to be halfway decent, is a vulture in my eyes.
This is the conclusion I wanted to come out. These dudes the OP brought up ain't culture vultures because they're white because we've had white boys down with hip hop since the beginning. Nah, they're culture vultures because they're in it for the money and nothing more just like Yachty, Uzi, and 'nem; they just happen to be white. -
konceptjones wrote: »Like Water wrote: »konceptjones wrote: »Like Water wrote: »konceptjones wrote: »Like Water wrote: »konceptjones wrote: »konceptjones wrote: »That's not the beginnings tho... hip-hop is older than all those guys careersThe Recipe wrote: »
How is it cultural appropriation when whites (and latinos for that matter) were a part of it from day one?
? WHITES WERE NOT IN IT FROM DAY ONE they jumped on it to get money and fame. Well after all the arts of hip hop were established
Latinos however that another matter
The core elements of hip hop are B-boying, Grafitti, Turntablism, and Rapping.
NYC's B-boying borrowed heavily from LA's locking. The Campbell Lockers, later named just The Lockers, was a dance crew from LA that originated pop-locking that had among it's original members in 1971(and throughout the 70's) Toni Basil, the white chick that went on to 1-hit wonder fame with the song "Hey Mickey" in '81. Plenty of those old NYC B-Boy crews had whites in their rosters with a lot of them being chicks.
White Graf artists were around in NYC back in the early 70's doing work right alongside Black and Latino artists. Cats like Bil Rock, Min, and a whole slew of other white dudes were very active bombing back in the day and very much integrated into the Graf scene.
DJ's? From the late 70's throughout the 80's there's always been a few white cats though they were always overshadowed by Black and Latino DJ's.
Rappers: This is the sole place where Black men had exclusivity with the formation of hip hop. Granted, white cats were a part of the early hip hop sound of they late 70's and early 80's as the creators of some of hip hop's most memorable joints from the early 80's (like the aforementioned Man Parrish, Gordon Bahary, and Arthur Baker), but as far as MC's go this was the Black man's stronghold until 1983 when the Beastie Boys dropped "Cooky ? ".
In the early 80's there was almost no money in hip hop and the only fame there was to be had was likely local to your immediate area or region. They didn't do it for fame or money, but to say "I did that".
C'mon, bruh. You know damn well muthafuckas like Post Malone and Lil Peep are nothing like the white boys that helped formulate the sound of hip-hop. That shouldn't even need to be stated. Smh.
You're making unnecessary points. No one is talking about proven acts like The Beastie Boys here.
The point I was making was how do you call white rappers "cultural appropriators" when white dudes have been around since the very beginning of hip hop? They were a part of the formation of hip hop as a whole, so there's nothing about their presence that says, to me, they're appropriating the culture. They were b-boys, they were graf aritst, they were dj's they were producers, they were MC's (though admittedly few at first), so how does that work? Are they not entitled to have a claim to hip hop like we do?
Because the people that you're talking about are not like the ones everyone is referring to. They are not one and the same.
People like Alchemist, Harry Fraud, Action Bronson, Em... Yeah, they're entitled to have a claim to hip-hop because they put in the work and are proven. They're not caricatures.
If you wanna tell me that Action Bronson and Post Malone should be categorized the same and should have an equal claim, ? , then I don't know what to tell you.
Should Future, Migos, Fetty Wap and not one of these other mumble mush mouf ass "rappers"? 'Cause I can't understand yet how the ? "music" they're pushing is being accepted with open arms as a part of "rap".
Migos and Future have their place. And how you gon try and straw man the convo? I'm not talking about Future and nem right now.
Although, it could be argued that the bar has been lowered, in terms of rap being a craft that rappers take serious, since the rise of a few artists. That much is plausible.
But Post Malone is not the only vulture here either. I think Yachty and Uzi are examples of vultures as well. Anybody lookin to make a quick buck, while neglecting the genre, its history, and the skill required to be halfway decent, is a vulture in my eyes.
I just don't say they're stealing culture because they're black. We may not have much, but hip-hop is a part of black culture, for better or worse.
This entire reply is where I wanted to get to in this whole convo.
While you wouldn't include Future and Migos, I do. The way I see it, they're in if for a paycheck and nothing more. Just like all those cats that came through callin themselves "producers" with cracked FL Studio or Reason runnin' Blue Light Specials "5 exclusives for $10" during the height of the "super producer" craze. They had no real love for hip hop, no connection to what was here before as a way to move it forward.
What you said right here is what I want everyone to think about:Anybody lookin to make a quick buck, while neglecting the genre, its history, and the skill required to be halfway decent, is a vulture in my eyes.
This is the conclusion I wanted to come out. These dudes the OP brought up ain't culture vultures because they're white because we've had white boys down with hip hop since the beginning. Nah, they're culture vultures because they're in it for the money and nothing more just like Yachty, Uzi, and 'nem; they just happen to be white.
not the biggest hip hop head
but i was reading this article and it made me want to comment
https://www.vibe.com/2017/11/post-malone-tells-people-dont-listen-to-hip-hop/
maybe i'm just stating the obvious
and i don't think you are necessarily wrong, but its just so much more frustrating how a post malone can pick and choice when to embrace and distance himself from hip hop and blk culture at no real costs (i.e. still sell millions, more airtime, critical acclaim, etc)
whereas blk artist are pigeonholed and held to a different/higher standard by white and blk ppl
sticking with post malone
he can say "if you’re looking to cry, if you’re looking to think about life, don’t listen to hip hop" at no real cost
he can release a "white iverson" ...enjoy airplay from both blk and white radio...then afford to turn down opportunities like a slot on the XXL Freshmen list because he was “going in more of a rock/pop/country direction”
yes its america, but frustrating nonetheless
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Skimmed thru the thread
So whats the verdict?
Anyone not black is a vulture unless they named Action Bronson or Alchemist? -
Madame_CJSkywalker wrote: »konceptjones wrote: »Like Water wrote: »konceptjones wrote: »Like Water wrote: »konceptjones wrote: »Like Water wrote: »konceptjones wrote: »konceptjones wrote: »That's not the beginnings tho... hip-hop is older than all those guys careersThe Recipe wrote: »
How is it cultural appropriation when whites (and latinos for that matter) were a part of it from day one?
? WHITES WERE NOT IN IT FROM DAY ONE they jumped on it to get money and fame. Well after all the arts of hip hop were established
Latinos however that another matter
The core elements of hip hop are B-boying, Grafitti, Turntablism, and Rapping.
NYC's B-boying borrowed heavily from LA's locking. The Campbell Lockers, later named just The Lockers, was a dance crew from LA that originated pop-locking that had among it's original members in 1971(and throughout the 70's) Toni Basil, the white chick that went on to 1-hit wonder fame with the song "Hey Mickey" in '81. Plenty of those old NYC B-Boy crews had whites in their rosters with a lot of them being chicks.
White Graf artists were around in NYC back in the early 70's doing work right alongside Black and Latino artists. Cats like Bil Rock, Min, and a whole slew of other white dudes were very active bombing back in the day and very much integrated into the Graf scene.
DJ's? From the late 70's throughout the 80's there's always been a few white cats though they were always overshadowed by Black and Latino DJ's.
Rappers: This is the sole place where Black men had exclusivity with the formation of hip hop. Granted, white cats were a part of the early hip hop sound of they late 70's and early 80's as the creators of some of hip hop's most memorable joints from the early 80's (like the aforementioned Man Parrish, Gordon Bahary, and Arthur Baker), but as far as MC's go this was the Black man's stronghold until 1983 when the Beastie Boys dropped "Cooky ? ".
In the early 80's there was almost no money in hip hop and the only fame there was to be had was likely local to your immediate area or region. They didn't do it for fame or money, but to say "I did that".
C'mon, bruh. You know damn well muthafuckas like Post Malone and Lil Peep are nothing like the white boys that helped formulate the sound of hip-hop. That shouldn't even need to be stated. Smh.
You're making unnecessary points. No one is talking about proven acts like The Beastie Boys here.
The point I was making was how do you call white rappers "cultural appropriators" when white dudes have been around since the very beginning of hip hop? They were a part of the formation of hip hop as a whole, so there's nothing about their presence that says, to me, they're appropriating the culture. They were b-boys, they were graf aritst, they were dj's they were producers, they were MC's (though admittedly few at first), so how does that work? Are they not entitled to have a claim to hip hop like we do?
Because the people that you're talking about are not like the ones everyone is referring to. They are not one and the same.
People like Alchemist, Harry Fraud, Action Bronson, Em... Yeah, they're entitled to have a claim to hip-hop because they put in the work and are proven. They're not caricatures.
If you wanna tell me that Action Bronson and Post Malone should be categorized the same and should have an equal claim, ? , then I don't know what to tell you.
Should Future, Migos, Fetty Wap and not one of these other mumble mush mouf ass "rappers"? 'Cause I can't understand yet how the ? "music" they're pushing is being accepted with open arms as a part of "rap".
Migos and Future have their place. And how you gon try and straw man the convo? I'm not talking about Future and nem right now.
Although, it could be argued that the bar has been lowered, in terms of rap being a craft that rappers take serious, since the rise of a few artists. That much is plausible.
But Post Malone is not the only vulture here either. I think Yachty and Uzi are examples of vultures as well. Anybody lookin to make a quick buck, while neglecting the genre, its history, and the skill required to be halfway decent, is a vulture in my eyes.
I just don't say they're stealing culture because they're black. We may not have much, but hip-hop is a part of black culture, for better or worse.
This entire reply is where I wanted to get to in this whole convo.
While you wouldn't include Future and Migos, I do. The way I see it, they're in if for a paycheck and nothing more. Just like all those cats that came through callin themselves "producers" with cracked FL Studio or Reason runnin' Blue Light Specials "5 exclusives for $10" during the height of the "super producer" craze. They had no real love for hip hop, no connection to what was here before as a way to move it forward.
What you said right here is what I want everyone to think about:Anybody lookin to make a quick buck, while neglecting the genre, its history, and the skill required to be halfway decent, is a vulture in my eyes.
This is the conclusion I wanted to come out. These dudes the OP brought up ain't culture vultures because they're white because we've had white boys down with hip hop since the beginning. Nah, they're culture vultures because they're in it for the money and nothing more just like Yachty, Uzi, and 'nem; they just happen to be white.
not the biggest hip hop head
but i was reading this article and it made me want to comment
https://www.vibe.com/2017/11/post-malone-tells-people-dont-listen-to-hip-hop/
maybe i'm just stating the obvious
and i don't think you are necessarily wrong, but its just so much more frustrating how a post malone can pick and choice when to embrace and distance himself from hip hop and blk culture at no real costs (i.e. still sell millions, more airtime, critical acclaim, etc)
whereas blk artist are pigeonholed and held to a different/higher standard by white and blk ppl
sticking with post malone
he can say "if you’re looking to cry, if you’re looking to think about life, don’t listen to hip hop" at no real cost
he can release a "white iverson" ...enjoy airplay from both blk and white radio...then afford to turn down opportunities like a slot on the XXL Freshmen list because he was “going in more of a rock/pop/country direction”
yes its america, but frustrating nonetheless
The IC fav Joe Budden cosigned Post on that comment above -
Skimmed thru the thread
So whats the verdict?
Anyone not black is a vulture unless they named Action Bronson or Alchemist?
If that's the conclusion you reached, then maybe you should read the thread instead of skimming it.
And Joe Budden be talkin out his ass. No one takes him serious unless he's behind a mic in the booth. -
The user and all related content has been deleted.
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The beginning of the end was when Run DMC's Raising Hell sold 3X Platinum and then The Beastie Boys released License To Ill 6 months later and sold 4X Platinum using basically the same formula.
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Ebro and Rosenberg calls out Post Malone for vulturing @ 14:45 Ebros talks about Post being used to change the complexion of rap
https://www.youtube.com/watch?v=QwIk_Pf4Yrc -
Lil Pump or Purl whatever his name was had to be listening to" D4L - betcha can't do it like me" before he made that Gucci Gang bs
https://youtu.be/K-3NliS4VQA -
The Recipe wrote: »Ebro and Rosenberg calls out Post Malone for vulturing @ 14:45 Ebros talks about Post being used to change the complexion of raphttps://www.youtube.com/watch?v=QwIk_Pf4Yrc
Pretty much. There's nothing but black artists in the Grammy categories this year. Surprised the ? outta me. And most of it is, imo, of high quality. You know there's people that don't like that and want a way to overturn this trend.
Post Malone is a perfect solution for them. And these young, dumb black and brown people that are cool with all these "dude bros" are just as ignorant and sheep-like as the white people.
They don't give a ? about the genre either cuz all they grew up with is mostly trash.
Buncha clowns all through this ? . -
Like Water wrote: »konceptjones wrote: »Like Water wrote: »konceptjones wrote: »Like Water wrote: »konceptjones wrote: »konceptjones wrote: »That's not the beginnings tho... hip-hop is older than all those guys careersThe Recipe wrote: »
How is it cultural appropriation when whites (and latinos for that matter) were a part of it from day one?
? WHITES WERE NOT IN IT FROM DAY ONE they jumped on it to get money and fame. Well after all the arts of hip hop were established
Latinos however that another matter
The core elements of hip hop are B-boying, Grafitti, Turntablism, and Rapping.
NYC's B-boying borrowed heavily from LA's locking. The Campbell Lockers, later named just The Lockers, was a dance crew from LA that originated pop-locking that had among it's original members in 1971(and throughout the 70's) Toni Basil, the white chick that went on to 1-hit wonder fame with the song "Hey Mickey" in '81. Plenty of those old NYC B-Boy crews had whites in their rosters with a lot of them being chicks.
White Graf artists were around in NYC back in the early 70's doing work right alongside Black and Latino artists. Cats like Bil Rock, Min, and a whole slew of other white dudes were very active bombing back in the day and very much integrated into the Graf scene.
DJ's? From the late 70's throughout the 80's there's always been a few white cats though they were always overshadowed by Black and Latino DJ's.
Rappers: This is the sole place where Black men had exclusivity with the formation of hip hop. Granted, white cats were a part of the early hip hop sound of they late 70's and early 80's as the creators of some of hip hop's most memorable joints from the early 80's (like the aforementioned Man Parrish, Gordon Bahary, and Arthur Baker), but as far as MC's go this was the Black man's stronghold until 1983 when the Beastie Boys dropped "Cooky ? ".
In the early 80's there was almost no money in hip hop and the only fame there was to be had was likely local to your immediate area or region. They didn't do it for fame or money, but to say "I did that".
C'mon, bruh. You know damn well muthafuckas like Post Malone and Lil Peep are nothing like the white boys that helped formulate the sound of hip-hop. That shouldn't even need to be stated. Smh.
You're making unnecessary points. No one is talking about proven acts like The Beastie Boys here.
The point I was making was how do you call white rappers "cultural appropriators" when white dudes have been around since the very beginning of hip hop? They were a part of the formation of hip hop as a whole, so there's nothing about their presence that says, to me, they're appropriating the culture. They were b-boys, they were graf aritst, they were dj's they were producers, they were MC's (though admittedly few at first), so how does that work? Are they not entitled to have a claim to hip hop like we do?
Because the people that you're talking about are not like the ones everyone is referring to. They are not one and the same.
People like Alchemist, Harry Fraud, Action Bronson, Em... Yeah, they're entitled to have a claim to hip-hop because they put in the work and are proven. They're not caricatures.
If you wanna tell me that Action Bronson and Post Malone should be categorized the same and should have an equal claim, ? , then I don't know what to tell you.
Should Future, Migos, Fetty Wap and not one of these other mumble mush mouf ass "rappers"? 'Cause I can't understand yet how the ? "music" they're pushing is being accepted with open arms as a part of "rap".
Migos and Future have their place. And how you gon try and straw man the convo? I'm not talking about Future and nem right now.
Although, it could be argued that the bar has been lowered, in terms of rap being a craft that rappers take serious, since the rise of a few artists. That much is plausible.
But Post Malone is not the only vulture here either. I think Yachty and Uzi are examples of vultures as well. Anybody lookin to make a quick buck, while neglecting the genre, its history, and the skill required to be halfway decent, is a vulture in my eyes.
I just don't say they're stealing culture because they're black. We may not have much, but hip-hop is a part of black culture, for better or worse.
Lyricism was a essential skill, and no one even knows what Migos and Future are saying half the time.
To be honest, mainstream rap is hard to respect, so I can't expect people to hold it on this pedestal. Saying it's this deep part of our culture that needs respect. They call women ? /thots. They glorify using Xanax, Molly, percocet. They glorify wasting money on ? . That's us respecting our own culture, and carrying ourselves in a way that demands respect?
I think earlier someone joked Logic for his song. That's a song with a positive message, addressing something that's impacting the black community...thats respectable ? to me. But we ? on him and give Migos the OK? -
bow to royalty wrote: »Like Water wrote: »konceptjones wrote: »Like Water wrote: »konceptjones wrote: »Like Water wrote: »konceptjones wrote: »konceptjones wrote: »That's not the beginnings tho... hip-hop is older than all those guys careersThe Recipe wrote: »
How is it cultural appropriation when whites (and latinos for that matter) were a part of it from day one?
? WHITES WERE NOT IN IT FROM DAY ONE they jumped on it to get money and fame. Well after all the arts of hip hop were established
Latinos however that another matter
The core elements of hip hop are B-boying, Grafitti, Turntablism, and Rapping.
NYC's B-boying borrowed heavily from LA's locking. The Campbell Lockers, later named just The Lockers, was a dance crew from LA that originated pop-locking that had among it's original members in 1971(and throughout the 70's) Toni Basil, the white chick that went on to 1-hit wonder fame with the song "Hey Mickey" in '81. Plenty of those old NYC B-Boy crews had whites in their rosters with a lot of them being chicks.
White Graf artists were around in NYC back in the early 70's doing work right alongside Black and Latino artists. Cats like Bil Rock, Min, and a whole slew of other white dudes were very active bombing back in the day and very much integrated into the Graf scene.
DJ's? From the late 70's throughout the 80's there's always been a few white cats though they were always overshadowed by Black and Latino DJ's.
Rappers: This is the sole place where Black men had exclusivity with the formation of hip hop. Granted, white cats were a part of the early hip hop sound of they late 70's and early 80's as the creators of some of hip hop's most memorable joints from the early 80's (like the aforementioned Man Parrish, Gordon Bahary, and Arthur Baker), but as far as MC's go this was the Black man's stronghold until 1983 when the Beastie Boys dropped "Cooky ? ".
In the early 80's there was almost no money in hip hop and the only fame there was to be had was likely local to your immediate area or region. They didn't do it for fame or money, but to say "I did that".
C'mon, bruh. You know damn well muthafuckas like Post Malone and Lil Peep are nothing like the white boys that helped formulate the sound of hip-hop. That shouldn't even need to be stated. Smh.
You're making unnecessary points. No one is talking about proven acts like The Beastie Boys here.
The point I was making was how do you call white rappers "cultural appropriators" when white dudes have been around since the very beginning of hip hop? They were a part of the formation of hip hop as a whole, so there's nothing about their presence that says, to me, they're appropriating the culture. They were b-boys, they were graf aritst, they were dj's they were producers, they were MC's (though admittedly few at first), so how does that work? Are they not entitled to have a claim to hip hop like we do?
Because the people that you're talking about are not like the ones everyone is referring to. They are not one and the same.
People like Alchemist, Harry Fraud, Action Bronson, Em... Yeah, they're entitled to have a claim to hip-hop because they put in the work and are proven. They're not caricatures.
If you wanna tell me that Action Bronson and Post Malone should be categorized the same and should have an equal claim, ? , then I don't know what to tell you.
Should Future, Migos, Fetty Wap and not one of these other mumble mush mouf ass "rappers"? 'Cause I can't understand yet how the ? "music" they're pushing is being accepted with open arms as a part of "rap".
Migos and Future have their place. And how you gon try and straw man the convo? I'm not talking about Future and nem right now.
Although, it could be argued that the bar has been lowered, in terms of rap being a craft that rappers take serious, since the rise of a few artists. That much is plausible.
But Post Malone is not the only vulture here either. I think Yachty and Uzi are examples of vultures as well. Anybody lookin to make a quick buck, while neglecting the genre, its history, and the skill required to be halfway decent, is a vulture in my eyes.
I just don't say they're stealing culture because they're black. We may not have much, but hip-hop is a part of black culture, for better or worse.
Lyricism was a essential skill, and no one even knows what Migos and Future are saying half the time.
To be honest, mainstream rap is hard to respect, so I can't expect people to hold it on this pedestal. Saying it's this deep part of our culture that needs respect. They call women ? /thots. They glorify using Xanax, Molly, percocet. They glorify wasting money on ? . That's us respecting our own culture, and carrying ourselves in a way that demands respect?
I think earlier someone joked Logic for his song. That's a song with a positive message, addressing something that's impacting the black community...thats respectable ? to me. But we ? on him and give Migos the OK?
I don't care for Logic because he tries too damn hard and is copying 1 of 3 more popular rappers at any given time. As far as Future and Migos are concerned, I (my opinion) feel like they bring something different to the genre. Do I like all of their songs or content all the time? Not at all. Some of it is trash as ? .
But there's a time and place for everything. I mainly listen to lyricists because that's what I was raised on and that's what inspires and impresses me. But sometimes I do wanna just dumb out like, "? it."
But those 2 acts are as far down that rabbit hole as I'm willing to go. As far as that whole "new trap" subsidiary of rap is concerned. -
Like Water wrote: »bow to royalty wrote: »Like Water wrote: »konceptjones wrote: »Like Water wrote: »konceptjones wrote: »Like Water wrote: »konceptjones wrote: »konceptjones wrote: »That's not the beginnings tho... hip-hop is older than all those guys careersThe Recipe wrote: »
How is it cultural appropriation when whites (and latinos for that matter) were a part of it from day one?
? WHITES WERE NOT IN IT FROM DAY ONE they jumped on it to get money and fame. Well after all the arts of hip hop were established
Latinos however that another matter
The core elements of hip hop are B-boying, Grafitti, Turntablism, and Rapping.
NYC's B-boying borrowed heavily from LA's locking. The Campbell Lockers, later named just The Lockers, was a dance crew from LA that originated pop-locking that had among it's original members in 1971(and throughout the 70's) Toni Basil, the white chick that went on to 1-hit wonder fame with the song "Hey Mickey" in '81. Plenty of those old NYC B-Boy crews had whites in their rosters with a lot of them being chicks.
White Graf artists were around in NYC back in the early 70's doing work right alongside Black and Latino artists. Cats like Bil Rock, Min, and a whole slew of other white dudes were very active bombing back in the day and very much integrated into the Graf scene.
DJ's? From the late 70's throughout the 80's there's always been a few white cats though they were always overshadowed by Black and Latino DJ's.
Rappers: This is the sole place where Black men had exclusivity with the formation of hip hop. Granted, white cats were a part of the early hip hop sound of they late 70's and early 80's as the creators of some of hip hop's most memorable joints from the early 80's (like the aforementioned Man Parrish, Gordon Bahary, and Arthur Baker), but as far as MC's go this was the Black man's stronghold until 1983 when the Beastie Boys dropped "Cooky ? ".
In the early 80's there was almost no money in hip hop and the only fame there was to be had was likely local to your immediate area or region. They didn't do it for fame or money, but to say "I did that".
C'mon, bruh. You know damn well muthafuckas like Post Malone and Lil Peep are nothing like the white boys that helped formulate the sound of hip-hop. That shouldn't even need to be stated. Smh.
You're making unnecessary points. No one is talking about proven acts like The Beastie Boys here.
The point I was making was how do you call white rappers "cultural appropriators" when white dudes have been around since the very beginning of hip hop? They were a part of the formation of hip hop as a whole, so there's nothing about their presence that says, to me, they're appropriating the culture. They were b-boys, they were graf aritst, they were dj's they were producers, they were MC's (though admittedly few at first), so how does that work? Are they not entitled to have a claim to hip hop like we do?
Because the people that you're talking about are not like the ones everyone is referring to. They are not one and the same.
People like Alchemist, Harry Fraud, Action Bronson, Em... Yeah, they're entitled to have a claim to hip-hop because they put in the work and are proven. They're not caricatures.
If you wanna tell me that Action Bronson and Post Malone should be categorized the same and should have an equal claim, ? , then I don't know what to tell you.
Should Future, Migos, Fetty Wap and not one of these other mumble mush mouf ass "rappers"? 'Cause I can't understand yet how the ? "music" they're pushing is being accepted with open arms as a part of "rap".
Migos and Future have their place. And how you gon try and straw man the convo? I'm not talking about Future and nem right now.
Although, it could be argued that the bar has been lowered, in terms of rap being a craft that rappers take serious, since the rise of a few artists. That much is plausible.
But Post Malone is not the only vulture here either. I think Yachty and Uzi are examples of vultures as well. Anybody lookin to make a quick buck, while neglecting the genre, its history, and the skill required to be halfway decent, is a vulture in my eyes.
I just don't say they're stealing culture because they're black. We may not have much, but hip-hop is a part of black culture, for better or worse.
Lyricism was a essential skill, and no one even knows what Migos and Future are saying half the time.
To be honest, mainstream rap is hard to respect, so I can't expect people to hold it on this pedestal. Saying it's this deep part of our culture that needs respect. They call women ? /thots. They glorify using Xanax, Molly, percocet. They glorify wasting money on ? . That's us respecting our own culture, and carrying ourselves in a way that demands respect?
I think earlier someone joked Logic for his song. That's a song with a positive message, addressing something that's impacting the black community...thats respectable ? to me. But we ? on him and give Migos the OK?
I don't care for Logic because he tries too damn hard and is copying 1 of 3 more popular rappers at any given time. As far as Future and Migos are concerned, I (my opinion) feel like they bring something different to the genre. Do I like all of their songs or content all the time? Not at all. Some of it is trash as ? .
But there's a time and place for everything. I mainly listen to lyricists because that's what I was raised on and that's what inspires and impresses me. But sometimes I do wanna just dumb out like, "? it."
But those 2 acts are as far down that rabbit hole as I'm willing to go. As far as that whole "new trap" subsidiary of rap is concerned.
So let me get this straight you respect Migos and Future but you won't respect this?
https://www.youtube.com/watch?v=BMAPdGqeikM
https://www.youtube.com/watch?v=wXBPsy1nlaE
I have nothing else to say to you. -
genocidecutter wrote: »Like Water wrote: »bow to royalty wrote: »Like Water wrote: »konceptjones wrote: »Like Water wrote: »konceptjones wrote: »Like Water wrote: »konceptjones wrote: »konceptjones wrote: »That's not the beginnings tho... hip-hop is older than all those guys careersThe Recipe wrote: »
How is it cultural appropriation when whites (and latinos for that matter) were a part of it from day one?
? WHITES WERE NOT IN IT FROM DAY ONE they jumped on it to get money and fame. Well after all the arts of hip hop were established
Latinos however that another matter
The core elements of hip hop are B-boying, Grafitti, Turntablism, and Rapping.
NYC's B-boying borrowed heavily from LA's locking. The Campbell Lockers, later named just The Lockers, was a dance crew from LA that originated pop-locking that had among it's original members in 1971(and throughout the 70's) Toni Basil, the white chick that went on to 1-hit wonder fame with the song "Hey Mickey" in '81. Plenty of those old NYC B-Boy crews had whites in their rosters with a lot of them being chicks.
White Graf artists were around in NYC back in the early 70's doing work right alongside Black and Latino artists. Cats like Bil Rock, Min, and a whole slew of other white dudes were very active bombing back in the day and very much integrated into the Graf scene.
DJ's? From the late 70's throughout the 80's there's always been a few white cats though they were always overshadowed by Black and Latino DJ's.
Rappers: This is the sole place where Black men had exclusivity with the formation of hip hop. Granted, white cats were a part of the early hip hop sound of they late 70's and early 80's as the creators of some of hip hop's most memorable joints from the early 80's (like the aforementioned Man Parrish, Gordon Bahary, and Arthur Baker), but as far as MC's go this was the Black man's stronghold until 1983 when the Beastie Boys dropped "Cooky ? ".
In the early 80's there was almost no money in hip hop and the only fame there was to be had was likely local to your immediate area or region. They didn't do it for fame or money, but to say "I did that".
C'mon, bruh. You know damn well muthafuckas like Post Malone and Lil Peep are nothing like the white boys that helped formulate the sound of hip-hop. That shouldn't even need to be stated. Smh.
You're making unnecessary points. No one is talking about proven acts like The Beastie Boys here.
The point I was making was how do you call white rappers "cultural appropriators" when white dudes have been around since the very beginning of hip hop? They were a part of the formation of hip hop as a whole, so there's nothing about their presence that says, to me, they're appropriating the culture. They were b-boys, they were graf aritst, they were dj's they were producers, they were MC's (though admittedly few at first), so how does that work? Are they not entitled to have a claim to hip hop like we do?
Because the people that you're talking about are not like the ones everyone is referring to. They are not one and the same.
People like Alchemist, Harry Fraud, Action Bronson, Em... Yeah, they're entitled to have a claim to hip-hop because they put in the work and are proven. They're not caricatures.
If you wanna tell me that Action Bronson and Post Malone should be categorized the same and should have an equal claim, ? , then I don't know what to tell you.
Should Future, Migos, Fetty Wap and not one of these other mumble mush mouf ass "rappers"? 'Cause I can't understand yet how the ? "music" they're pushing is being accepted with open arms as a part of "rap".
Migos and Future have their place. And how you gon try and straw man the convo? I'm not talking about Future and nem right now.
Although, it could be argued that the bar has been lowered, in terms of rap being a craft that rappers take serious, since the rise of a few artists. That much is plausible.
But Post Malone is not the only vulture here either. I think Yachty and Uzi are examples of vultures as well. Anybody lookin to make a quick buck, while neglecting the genre, its history, and the skill required to be halfway decent, is a vulture in my eyes.
I just don't say they're stealing culture because they're black. We may not have much, but hip-hop is a part of black culture, for better or worse.
Lyricism was a essential skill, and no one even knows what Migos and Future are saying half the time.
To be honest, mainstream rap is hard to respect, so I can't expect people to hold it on this pedestal. Saying it's this deep part of our culture that needs respect. They call women ? /thots. They glorify using Xanax, Molly, percocet. They glorify wasting money on ? . That's us respecting our own culture, and carrying ourselves in a way that demands respect?
I think earlier someone joked Logic for his song. That's a song with a positive message, addressing something that's impacting the black community...thats respectable ? to me. But we ? on him and give Migos the OK?
I don't care for Logic because he tries too damn hard and is copying 1 of 3 more popular rappers at any given time. As far as Future and Migos are concerned, I (my opinion) feel like they bring something different to the genre. Do I like all of their songs or content all the time? Not at all. Some of it is trash as ? .
But there's a time and place for everything. I mainly listen to lyricists because that's what I was raised on and that's what inspires and impresses me. But sometimes I do wanna just dumb out like, "? it."
But those 2 acts are as far down that rabbit hole as I'm willing to go. As far as that whole "new trap" subsidiary of rap is concerned.
So let me get this straight you respect Migos and Future but you won't respect this?https://www.youtube.com/watch?v=BMAPdGqeikMhttps://www.youtube.com/watch?v=wXBPsy1nlaE
I have nothing else to say to you.
Don't start wit me, dammit. -
Like Water wrote: »bow to royalty wrote: »Like Water wrote: »konceptjones wrote: »Like Water wrote: »konceptjones wrote: »Like Water wrote: »konceptjones wrote: »konceptjones wrote: »That's not the beginnings tho... hip-hop is older than all those guys careersThe Recipe wrote: »
How is it cultural appropriation when whites (and latinos for that matter) were a part of it from day one?
? WHITES WERE NOT IN IT FROM DAY ONE they jumped on it to get money and fame. Well after all the arts of hip hop were established
Latinos however that another matter
The core elements of hip hop are B-boying, Grafitti, Turntablism, and Rapping.
NYC's B-boying borrowed heavily from LA's locking. The Campbell Lockers, later named just The Lockers, was a dance crew from LA that originated pop-locking that had among it's original members in 1971(and throughout the 70's) Toni Basil, the white chick that went on to 1-hit wonder fame with the song "Hey Mickey" in '81. Plenty of those old NYC B-Boy crews had whites in their rosters with a lot of them being chicks.
White Graf artists were around in NYC back in the early 70's doing work right alongside Black and Latino artists. Cats like Bil Rock, Min, and a whole slew of other white dudes were very active bombing back in the day and very much integrated into the Graf scene.
DJ's? From the late 70's throughout the 80's there's always been a few white cats though they were always overshadowed by Black and Latino DJ's.
Rappers: This is the sole place where Black men had exclusivity with the formation of hip hop. Granted, white cats were a part of the early hip hop sound of they late 70's and early 80's as the creators of some of hip hop's most memorable joints from the early 80's (like the aforementioned Man Parrish, Gordon Bahary, and Arthur Baker), but as far as MC's go this was the Black man's stronghold until 1983 when the Beastie Boys dropped "Cooky ? ".
In the early 80's there was almost no money in hip hop and the only fame there was to be had was likely local to your immediate area or region. They didn't do it for fame or money, but to say "I did that".
C'mon, bruh. You know damn well muthafuckas like Post Malone and Lil Peep are nothing like the white boys that helped formulate the sound of hip-hop. That shouldn't even need to be stated. Smh.
You're making unnecessary points. No one is talking about proven acts like The Beastie Boys here.
The point I was making was how do you call white rappers "cultural appropriators" when white dudes have been around since the very beginning of hip hop? They were a part of the formation of hip hop as a whole, so there's nothing about their presence that says, to me, they're appropriating the culture. They were b-boys, they were graf aritst, they were dj's they were producers, they were MC's (though admittedly few at first), so how does that work? Are they not entitled to have a claim to hip hop like we do?
Because the people that you're talking about are not like the ones everyone is referring to. They are not one and the same.
People like Alchemist, Harry Fraud, Action Bronson, Em... Yeah, they're entitled to have a claim to hip-hop because they put in the work and are proven. They're not caricatures.
If you wanna tell me that Action Bronson and Post Malone should be categorized the same and should have an equal claim, ? , then I don't know what to tell you.
Should Future, Migos, Fetty Wap and not one of these other mumble mush mouf ass "rappers"? 'Cause I can't understand yet how the ? "music" they're pushing is being accepted with open arms as a part of "rap".
Migos and Future have their place. And how you gon try and straw man the convo? I'm not talking about Future and nem right now.
Although, it could be argued that the bar has been lowered, in terms of rap being a craft that rappers take serious, since the rise of a few artists. That much is plausible.
But Post Malone is not the only vulture here either. I think Yachty and Uzi are examples of vultures as well. Anybody lookin to make a quick buck, while neglecting the genre, its history, and the skill required to be halfway decent, is a vulture in my eyes.
I just don't say they're stealing culture because they're black. We may not have much, but hip-hop is a part of black culture, for better or worse.
Lyricism was a essential skill, and no one even knows what Migos and Future are saying half the time.
To be honest, mainstream rap is hard to respect, so I can't expect people to hold it on this pedestal. Saying it's this deep part of our culture that needs respect. They call women ? /thots. They glorify using Xanax, Molly, percocet. They glorify wasting money on ? . That's us respecting our own culture, and carrying ourselves in a way that demands respect?
I think earlier someone joked Logic for his song. That's a song with a positive message, addressing something that's impacting the black community...thats respectable ? to me. But we ? on him and give Migos the OK?
I don't care for Logic because he tries too damn hard and is copying 1 of 3 more popular rappers at any given time. As far as Future and Migos are concerned, I (my opinion) feel like they bring something different to the genre. Do I like all of their songs or content all the time? Not at all. Some of it is trash as ? .
But there's a time and place for everything. I mainly listen to lyricists because that's what I was raised on and that's what inspires and impresses me. But sometimes I do wanna just dumb out like, "? it."
But those 2 acts are as far down that rabbit hole as I'm willing to go. As far as that whole "new trap" subsidiary of rap is concerned.
I completely hear you on that. Some songs aren't wack, there's just a time and place for them. But it gets difficult to claim an offense against our culture when people dabble in rap, when we're not even showing the proper respect for rap ourselves. Know what I mean? And people like Migos IMO aren't showing respect to the skill or history of hip hop. Not saying I don't ? with some of their music. I'm just saying it's hard to embrace them, while demanding a certain skill level.
To me Hip Hop is what it is because the genre got too quick to embrace everything as hip hop. So now we let too much ? in, and we're mad at the artists for it. Uzi Vert is trash and even says he's not a rapper, he's a rock star. But rap fans knock him for his music. Post Malone could easily be grouped as another genre, but rap chose to claim him. Now they're mad at him for not loving hip hop enough. -
bow to royalty wrote: »
I completely hear you on that. Some songs aren't wack, there's just a time and place for them. But it gets difficult to claim an offense against our culture when people dabble in rap, when we're not even showing the proper respect for rap ourselves. Know what I mean? And people like Migos IMO aren't showing respect to the skill or history of hip hop. Not saying I don't ? with some of their music. I'm just saying it's hard to embrace them, while demanding a certain skill level.
To me Hip Hop is what it is because the genre got too quick to embrace everything as hip hop. So now we let too much ? in, and we're mad at the artists for it. Uzi Vert is trash and even says he's not a rapper, he's a rock star. But rap fans knock him for his music. Post Malone could easily be grouped as another genre, but rap chose to claim him. Now they're mad at him for not loving hip hop enough.
@ the bolded. You have a point but there's an opposing viewpoint.
A lot of people say that Hip Hop isn't music. Most rappers and Hip Hop producers can't read music and don't play an instrument. People who are into "real music" (i.e. playing in key, chord changes, crescendo, decrescendo, etc.) might say that Hip Hop isn't real music because it doesn't follow the rules.
I've heard Youtube rappers play famous rap songs with an acoustic guitar and it sounds pretty lame, but they have chord changes and they're playing in a certain key.
Its all subjective. -
bow to royalty wrote: »
I completely hear you on that. Some songs aren't wack, there's just a time and place for them. But it gets difficult to claim an offense against our culture when people dabble in rap, when we're not even showing the proper respect for rap ourselves. Know what I mean? And people like Migos IMO aren't showing respect to the skill or history of hip hop. Not saying I don't ? with some of their music. I'm just saying it's hard to embrace them, while demanding a certain skill level.
To me Hip Hop is what it is because the genre got too quick to embrace everything as hip hop. So now we let too much ? in, and we're mad at the artists for it. Uzi Vert is trash and even says he's not a rapper, he's a rock star. But rap fans knock him for his music. Post Malone could easily be grouped as another genre, but rap chose to claim him. Now they're mad at him for not loving hip hop enough.
@ the bolded. You have a point but there's an opposing viewpoint.
A lot of people say that Hip Hop isn't music. Most rappers and Hip Hop producers can't read music and don't play an instrument. People who are into "real music" (i.e. playing in key, chord changes, crescendo, decrescendo, etc.) might say that Hip Hop isn't real music because it doesn't follow the rules.
I've heard Youtube rappers play famous rap songs with an acoustic guitar and it sounds pretty lame, but they have chord changes and they're playing in a certain key.
Its all subjective.
It's definitely music, even if you don't respect the creators as musicians. I get true musicians looking down on it to an extent, but it's still music.
Like frying an egg is cooking, even if a chef looks down in it as basic -
bow to royalty wrote: »bow to royalty wrote: »
I completely hear you on that. Some songs aren't wack, there's just a time and place for them. But it gets difficult to claim an offense against our culture when people dabble in rap, when we're not even showing the proper respect for rap ourselves. Know what I mean? And people like Migos IMO aren't showing respect to the skill or history of hip hop. Not saying I don't ? with some of their music. I'm just saying it's hard to embrace them, while demanding a certain skill level.
To me Hip Hop is what it is because the genre got too quick to embrace everything as hip hop. So now we let too much ? in, and we're mad at the artists for it. Uzi Vert is trash and even says he's not a rapper, he's a rock star. But rap fans knock him for his music. Post Malone could easily be grouped as another genre, but rap chose to claim him. Now they're mad at him for not loving hip hop enough.
@ the bolded. You have a point but there's an opposing viewpoint.
A lot of people say that Hip Hop isn't music. Most rappers and Hip Hop producers can't read music and don't play an instrument. People who are into "real music" (i.e. playing in key, chord changes, crescendo, decrescendo, etc.) might say that Hip Hop isn't real music because it doesn't follow the rules.
I've heard Youtube rappers play famous rap songs with an acoustic guitar and it sounds pretty lame, but they have chord changes and they're playing in a certain key.
Its all subjective.
It's definitely music, even if you don't respect the creators as musicians. I get true musicians looking down on it to an extent, but it's still music.
Like frying an egg is cooking, even if a chef looks down in it as basic
Yeah, I never heard anyone say HipHop wasn't music. I've heard people say HipHop producers aren't really musicians or composers, which is arguably true, but HipHop is music without a doubt. -
bow to royalty wrote: »bow to royalty wrote: »
I completely hear you on that. Some songs aren't wack, there's just a time and place for them. But it gets difficult to claim an offense against our culture when people dabble in rap, when we're not even showing the proper respect for rap ourselves. Know what I mean? And people like Migos IMO aren't showing respect to the skill or history of hip hop. Not saying I don't ? with some of their music. I'm just saying it's hard to embrace them, while demanding a certain skill level.
To me Hip Hop is what it is because the genre got too quick to embrace everything as hip hop. So now we let too much ? in, and we're mad at the artists for it. Uzi Vert is trash and even says he's not a rapper, he's a rock star. But rap fans knock him for his music. Post Malone could easily be grouped as another genre, but rap chose to claim him. Now they're mad at him for not loving hip hop enough.
@ the bolded. You have a point but there's an opposing viewpoint.
A lot of people say that Hip Hop isn't music. Most rappers and Hip Hop producers can't read music and don't play an instrument. People who are into "real music" (i.e. playing in key, chord changes, crescendo, decrescendo, etc.) might say that Hip Hop isn't real music because it doesn't follow the rules.
I've heard Youtube rappers play famous rap songs with an acoustic guitar and it sounds pretty lame, but they have chord changes and they're playing in a certain key.
Its all subjective.
It's definitely music, even if you don't respect the creators as musicians. I get true musicians looking down on it to an extent, but it's still music.
Like frying an egg is cooking, even if a chef looks down in it as basic
Is ordering a pizza cooking?
You could look at sampling as ordering a pizza, or warming up a slice the following day in the microwave. -
bow to royalty wrote: »bow to royalty wrote: »
I completely hear you on that. Some songs aren't wack, there's just a time and place for them. But it gets difficult to claim an offense against our culture when people dabble in rap, when we're not even showing the proper respect for rap ourselves. Know what I mean? And people like Migos IMO aren't showing respect to the skill or history of hip hop. Not saying I don't ? with some of their music. I'm just saying it's hard to embrace them, while demanding a certain skill level.
To me Hip Hop is what it is because the genre got too quick to embrace everything as hip hop. So now we let too much ? in, and we're mad at the artists for it. Uzi Vert is trash and even says he's not a rapper, he's a rock star. But rap fans knock him for his music. Post Malone could easily be grouped as another genre, but rap chose to claim him. Now they're mad at him for not loving hip hop enough.
@ the bolded. You have a point but there's an opposing viewpoint.
A lot of people say that Hip Hop isn't music. Most rappers and Hip Hop producers can't read music and don't play an instrument. People who are into "real music" (i.e. playing in key, chord changes, crescendo, decrescendo, etc.) might say that Hip Hop isn't real music because it doesn't follow the rules.
I've heard Youtube rappers play famous rap songs with an acoustic guitar and it sounds pretty lame, but they have chord changes and they're playing in a certain key.
Its all subjective.
It's definitely music, even if you don't respect the creators as musicians. I get true musicians looking down on it to an extent, but it's still music.
Like frying an egg is cooking, even if a chef looks down in it as basic
Is ordering a pizza cooking?
You could look at sampling as ordering a pizza, or warming up a slice the following day in the microwave.
The sample is usually altered. A guy that just samples with no editing, and doesn't add his own thing to it wouldn't make it. But other musicians will copy from other people's music. -
-
bow to royalty wrote: »bow to royalty wrote: »
I completely hear you on that. Some songs aren't wack, there's just a time and place for them. But it gets difficult to claim an offense against our culture when people dabble in rap, when we're not even showing the proper respect for rap ourselves. Know what I mean? And people like Migos IMO aren't showing respect to the skill or history of hip hop. Not saying I don't ? with some of their music. I'm just saying it's hard to embrace them, while demanding a certain skill level.
To me Hip Hop is what it is because the genre got too quick to embrace everything as hip hop. So now we let too much ? in, and we're mad at the artists for it. Uzi Vert is trash and even says he's not a rapper, he's a rock star. But rap fans knock him for his music. Post Malone could easily be grouped as another genre, but rap chose to claim him. Now they're mad at him for not loving hip hop enough.
@ the bolded. You have a point but there's an opposing viewpoint.
A lot of people say that Hip Hop isn't music. Most rappers and Hip Hop producers can't read music and don't play an instrument. People who are into "real music" (i.e. playing in key, chord changes, crescendo, decrescendo, etc.) might say that Hip Hop isn't real music because it doesn't follow the rules.
I've heard Youtube rappers play famous rap songs with an acoustic guitar and it sounds pretty lame, but they have chord changes and they're playing in a certain key.
Its all subjective.
It's definitely music, even if you don't respect the creators as musicians. I get true musicians looking down on it to an extent, but it's still music.
Like frying an egg is cooking, even if a chef looks down in it as basic
Is ordering a pizza cooking?
You could look at sampling as ordering a pizza, or warming up a slice the following day in the microwave.
lmao what? that analogy makes no sense. ordering pizza isn't like sampling, ordering pizza could be used as a metaphor for ghost producing maybe, having someone else do all the work and passing it off as yours. -
Can someone give a good definition of what a Culture Vulture is? Do you ya'll think that any member of a race that wasn't instrumental in the conception of a particular culture that participates in said culture is a culture vulture? Like would ya'll consider Nujabes a culture vulture? Or is this just some more antiwhite ? ?
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