![]() ![]() ![]() ![]() Rap stars called for financial aid and donated substantial sums themselves. Sixteen months later, the rebuilding of New Orleans and the other affected regions is finally under way and hip-hop found its way back into the headlines and into my consciousness with both acts of charity and words of criticism. You’re invited to research the city’s unique musical history, purchase records by New Orleans artists and to make any other kind of donation if you can. Yet as I absorbed the disaster in the aftermath of Hurricane Katrina from the safety of my home, I didn’t think of Master P or Birdman, TRU or the Hot Boys, I went for my funk and soul compilations and played the songs we have encoded for you today for our humble tribute to The Big Easy. rap scene could be ignored in such a documentary. But this was also at the time when Cash Money Records put out a string of successful albums, most notably Juvenile’s “400 Degreez” (which I still consider Mannie Fresh’s chef-d’oeuvre.) So I was slightly offended that once again hip-hop – and its close local cousin bounce – were kept seperate from more established forms of music, annoyed at how the burgeoning N.O. John in the late ’80s, I still marveled at how a place could live and breathe history, not turning into a museum. Although I was already vaguely familiar with what New Orleans represents for modern music, having been introduced to the likes of Professor Longhair, Allen Toussaint, The Meters, the Neville Brothers, the Marsalis family and Dr. Some years ago, I was watching a documentary on New Orleans’ musical heritage, featuring some of the elders that were still around, and the youngsters that carried on the tradition. That album was not apologetic at all it was raw in your face.To build on a post I put together for the weblog Can I Bring My Gat (The City That Care Forgot), let me quote what I wrote under the impression of the havoc wreaked by Hurricane Katrina: People say you can't say this or that to this person, but you do have an opinion, and music was an outlet for that. It is what it is you either you like me or you don’t. ![]() What I mean is, you still had gangsta rap, you still had pro-black Public Enemy, you still had the storyteller Slick Rick. When that was going on, that was the last stages of us having categories of rap. Dre, those are things things that this generation, somebody who’s nine years old, you can hear the story and by the time you of age you pop that in and be like, "Oh I get it, I see why everybody was jamming to this.” So I think in that era, the music that he did was timeless. Listening to hip-hop right now, would we ever have something that we'd be celebrating 15 years from now that we talking about today? Would music ever feel like that again? Certain rap albums are timeless. I feel, would we ever have other albums like this? That’s scary to me. Where do you think Chopper City In The Ghetto stacks up? And the songs he was turning in, I was like, this not bounce music no more, this dude can really rap. What happened was, Wayne got in trouble with his grades and his mom took him out of the group. Then all of the sudden we come up to The B.G.'z, which was Wayne and B.G. Like I said, the first generation was based on bounce. This album defined what Cash Money is right now. Overall, that album is just one of those albums that I can go back and just listen to it, listen to my production, listen to him and it brings me back to where I need to be at. Published: ApWhat's your take on the album as a whole? ![]()
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