cossizzign... it was so direct ... no metaphors or thinking required... "i fucked your wife" ..(ouch) .... ether was a song .. hit em up was a massacre
cossizzign... it was so direct ... no metaphors or thinking required... "i fucked your wife" ..(ouch) .... ether was a song .. hit em up was a massacre
I feel you it was brutal, I just didn't feel Pac's music THAT much...but Nas just picked Jay apart in his prime...wit precision...made Jay respect um...I like Pac as an activist though...he gave the system hell....thats prolly why he's gone...Big was just another casualty of war to justify the East/West conspiracy.....but Pac had to go...he was on t.v. spitting at Judges and shit...thats making a serious mockery of the Power structure that enslaves us...millions could have been influenced by this.
T
The Arkitekt
Guest
wordd. He got some classics definately, but he's not a top rapper in my book. i'm too east coast.
StressWon
www.stress1.com
ill o.g.
Battle Points: 68
i agree. but this is the first biopic of any rapper. Hopefully if they do this right, the mainstream audiences will understand what really goes on wit hip hop.
Fury
W.W.F.D
ill o.g.
actually i do..2nd round KO by Canibus to me is the best diss track ever straight raw and that beat is just sMACK U IN THE FUCKIN FACE..and Canibus in my opinion the greatest lyricist of all time killed LL..
N.Y.S.O.M.
A Beat Nut
ill o.g.
yea hes a underground rapper called Gravy hes known in Brooklyn but not to heavy worldwide i seen him acouple in the Stuy
Roger Ebert gives it a thumbs up and a smart review!!
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20090114/REVIEWS/901149984
by Roger Ebert
He was known as the Notorious B.I.G., a man-mountain of rap, but behind the image was Christopher Wallace, an overgrown kid who was trying to grow up and do the right thing. The image we know about. The film "Notorious" is more interested in the kid. He was born in Brooklyn, loved his mother (a teacher who was studying for a master's degree), got into street-corner drug dealing because he liked the money, performed rap on the street and at 20 was signed by record producer Sean Combs. Four years later, he was dead.
Documentaries about B.I.G. have focused on the final years of his life. "Notorious" tells us of a bright kid who was abandoned by his father, raised by a mother from Jamaica who laid down the rules and told the kids on the playground he would be famous some day. "You too fat, too black and too ugly," a girl tells him. He just looks at her. He is sweet-tempered, even after being seduced into the street-corner crack business, but he sounds tough in his rap songs -- tough, introspective, autobiographical and a gifted writer.
His demo tape is heard by Sean Combs (Derek Luke), who is seen in the film as a good influence, in part perhaps because he's the movie's executive producer. Combs draws a line between the street as a market, and a place where he wants his artists to be seen. B.I.G. leaves the drug business, and almost overnight becomes a huge star, an East Coast rapper to match the West Coast artists like Tupac Shakur.
Tupac was shot dead not long before B.I.G. was murdered, and the word was they died because of a feud between the East and West Coast dynasties and onetime friends B.I.G. and Tupac Shakur (Anthony Mackie). Another version, in Nick Broomfield's 2002 documentary "Biggie and Tupac," is that both shootings were ordered by rap tycoon Suge Knight and carried out by off-duty LAPD officers in his hire. Broomfield produces an eyewitness and a bag man who says on camera that he delivered the money. The film, perhaps wisely, sidesteps this possibility.
"Notorious" is a good film in many ways, but its best achievement is the casting of Jamal Woolard, a rapper named Gravy, in the title role. He looks uncannily like the original, and Antonique Smith is a ringer for B.I.G.'s wife, rapper Faith Evans. Woolard already knew how to perform, but took voice lessons for six months at Juilliard to master B.I.G.'s sound.
He performs a lot of music in the film, all of it plot-driven, sure to become a best-selling soundtrack. As an actor, he conveys the singer's complex personality: a mother's boy, a womanizer, an artist who accepts career guidance from his managers, a sentimentalist, an ominous presence.
The real B.I.G. may have had a harder side, but we don't see it here. Instead, director George Tillman Jr. and his writers, Reggie Rock Bythewood and Cheo Hodari Coker, craft an understated message picture in which B.I.G. eventually decides to accept responsibility for the children he has fathered, and, as his mother, Voletta (Angela Bassett), urges him to do, become a man. Shortly before his death, he announces a new direction for his music.
Bassett doesn't play Voletta as a conventional grasping mamma. She believes in tough love and throws his son out of their apartment after she finds cocaine under the bed. Few actors are better at fierce resolve than Bassett, and she provides a baseline for her son's fall and eventual rise. The real Voletta is pictured in the Broomfield documentary, where in 2002 she looks like -- an older Angela Bassett.
George Tillman Jr. and his producing partner Robert Teitel are Chicagoans who have, together and separately, been involved in some of the best recent films about African-American and minority characters: "Nothing Like the Holidays," "Soul Food," "Men of Honor," both "Barbershop" pictures, "Beauty Shop." None of these films are sanctimonious, none preach, but in an unobtrusive way, they harbor positive convictions.
In "Notorious," they show how talent can lift a kid up off the street corner, but can't protect him in a culture of violence. The whole gangsta rap posture was dangerous, as B.I.G. and Tupac proved.
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20090114/REVIEWS/901149984
by Roger Ebert
He was known as the Notorious B.I.G., a man-mountain of rap, but behind the image was Christopher Wallace, an overgrown kid who was trying to grow up and do the right thing. The image we know about. The film "Notorious" is more interested in the kid. He was born in Brooklyn, loved his mother (a teacher who was studying for a master's degree), got into street-corner drug dealing because he liked the money, performed rap on the street and at 20 was signed by record producer Sean Combs. Four years later, he was dead.
Documentaries about B.I.G. have focused on the final years of his life. "Notorious" tells us of a bright kid who was abandoned by his father, raised by a mother from Jamaica who laid down the rules and told the kids on the playground he would be famous some day. "You too fat, too black and too ugly," a girl tells him. He just looks at her. He is sweet-tempered, even after being seduced into the street-corner crack business, but he sounds tough in his rap songs -- tough, introspective, autobiographical and a gifted writer.
His demo tape is heard by Sean Combs (Derek Luke), who is seen in the film as a good influence, in part perhaps because he's the movie's executive producer. Combs draws a line between the street as a market, and a place where he wants his artists to be seen. B.I.G. leaves the drug business, and almost overnight becomes a huge star, an East Coast rapper to match the West Coast artists like Tupac Shakur.
Tupac was shot dead not long before B.I.G. was murdered, and the word was they died because of a feud between the East and West Coast dynasties and onetime friends B.I.G. and Tupac Shakur (Anthony Mackie). Another version, in Nick Broomfield's 2002 documentary "Biggie and Tupac," is that both shootings were ordered by rap tycoon Suge Knight and carried out by off-duty LAPD officers in his hire. Broomfield produces an eyewitness and a bag man who says on camera that he delivered the money. The film, perhaps wisely, sidesteps this possibility.
"Notorious" is a good film in many ways, but its best achievement is the casting of Jamal Woolard, a rapper named Gravy, in the title role. He looks uncannily like the original, and Antonique Smith is a ringer for B.I.G.'s wife, rapper Faith Evans. Woolard already knew how to perform, but took voice lessons for six months at Juilliard to master B.I.G.'s sound.
He performs a lot of music in the film, all of it plot-driven, sure to become a best-selling soundtrack. As an actor, he conveys the singer's complex personality: a mother's boy, a womanizer, an artist who accepts career guidance from his managers, a sentimentalist, an ominous presence.
The real B.I.G. may have had a harder side, but we don't see it here. Instead, director George Tillman Jr. and his writers, Reggie Rock Bythewood and Cheo Hodari Coker, craft an understated message picture in which B.I.G. eventually decides to accept responsibility for the children he has fathered, and, as his mother, Voletta (Angela Bassett), urges him to do, become a man. Shortly before his death, he announces a new direction for his music.
Bassett doesn't play Voletta as a conventional grasping mamma. She believes in tough love and throws his son out of their apartment after she finds cocaine under the bed. Few actors are better at fierce resolve than Bassett, and she provides a baseline for her son's fall and eventual rise. The real Voletta is pictured in the Broomfield documentary, where in 2002 she looks like -- an older Angela Bassett.
George Tillman Jr. and his producing partner Robert Teitel are Chicagoans who have, together and separately, been involved in some of the best recent films about African-American and minority characters: "Nothing Like the Holidays," "Soul Food," "Men of Honor," both "Barbershop" pictures, "Beauty Shop." None of these films are sanctimonious, none preach, but in an unobtrusive way, they harbor positive convictions.
In "Notorious," they show how talent can lift a kid up off the street corner, but can't protect him in a culture of violence. The whole gangsta rap posture was dangerous, as B.I.G. and Tupac proved.
N.Y.S.O.M.
A Beat Nut
ill o.g.
RIP BIG dont wanna start anything but i say hes still King of NY n still the best no.1 rapper
once again this just my opinion................ being that im in Queens i didnt kno BIG til his album came out i think i was on the A train coming home from school n shyt when i found out i went to band practice n my mans told me he was killed Now Biggie was hip hop boy if only he was still alive New York music fell off after he was gone i hope jadakiss album will give us confidence
once again this just my opinion................ being that im in Queens i didnt kno BIG til his album came out i think i was on the A train coming home from school n shyt when i found out i went to band practice n my mans told me he was killed Now Biggie was hip hop boy if only he was still alive New York music fell off after he was gone i hope jadakiss album will give us confidence
T
The Arkitekt
Guest
Dude...LL's the ripper strikes back DESTROYED CANIBUS' CAREER
That song was rapid kicks to the balls.....
I thought 2nd round KO was good...but the beat was extremely bunz...
Due to the demise of BIG (and some can say Tupac and def Big Pun) the artists coming up couldn't compare to anyone...so there was really no competition....The bar that was set by the deceased disappeared...so now these up and comers and even some rap vets put out whatever they did....and mainstream hip-hop had to accept it because there was nothing else to shoot for... The vets that were in the game weren't able to hold it down because of the huge void the deceased left in the game.....The East coast hip-hop scene then started to become less of a player in hip-hop so came the emergence of the mid-west and the southern hip-hop.
StressWon
www.stress1.com
ill o.g.
Battle Points: 68
WOW. fury is gonna slit his wrists when he sees this,,lol. I liked both diss tracks. Canibus is the better lyricist tho. (opinion)
so did anyone see this, I cant wait to check this out. I wasnt this biggest Biggie fan, but 1) Ready to Die is a fuckin classic and 2) He may not be the best in my book, but no one was touchin his flow. Nobody. He rode the track like no other.
Fury
W.W.F.D
ill o.g.
but alot of kids say the same thing u did cuz u didnt ehar the track he made back called rip the jacker that shit wuz rough he destroyed LL the only reason ppl try to say he won cuz he has a huge fan base and hes LL he walks on water...LL cant fuck wit a dude like canibus..
Fury
W.W.F.D
ill o.g.
idk i never liked his flow that much besides most of ready to die..i think cats like Meth Q Tip Nas rakim Pac BigL and Pun all got a better flow in my book..Pun dont get the respect he deserves and i cant name anyone that can outrap him
StressWon
www.stress1.com
ill o.g.
Battle Points: 68
Pun is probably the greatest lyricist in our time. Hands down. Capitol Punishment was on a whole other level. I feel what you sayin, but Biggie's flow was fuckin bananas son. I'm nottakin away from the others, but come on man, the flow Big had was in its own class.Lyrically the cats you names were nicer then Big.
Quality
Godson of the Clapper
ill o.g.
Battle Points: 19
Yo I saw Notorious tonight...and it was dope!! I think they really put together a great movie here. The dude that played Biggie definitely looked a lot like him, and his voice was pretty close too. 2pac and Puffy's actors didn't really look like them, but they did have the resemblance. Overall I think this movie is something all hip hop fans would enjoy, first hand look at the legend.
God
Creator of the Universe
ill o.g.
I can name a person that can handily outrap anyone:
Ras Kass.
Quite possibly the most talented, troubled and underrated MC that ever lived. His album "Soul on Ice" is a masterpiece of lyricism that I find unparalleled in hip-hop.
Have a listen to the first 30 seconds of the song "Nature of the Threat" and if you don't find yourself literally spellbound by the difficult lyricism intertwined with flow - he's unbelievable. I have yet to find an MC that uses the word "phenotypical" right off the bat. Listen to it further and ask yourself if you ever heard anything else like it.
A couple songs:
1. Nature of the Threat:
2. Ordo Obchao (Order Out of Chaos):
There are so many more. He is truly an artist in every respect.
It is unparalleled. Went over everyone's heads. He created a masterpiece and tried to dumb-down his music for the rest of his life to no avail. "Soul on Ice" was a monster he created and could never again live up to.
I'm putting that up against heavyweight albums like Illmatic or anything 2Pac or Biggie came up with.
MagnaOpera
Comes Equipped...
ill o.g.
^ WORD! Ras Kass is ill!
lol no metaphors, no thinking required... I think that's what we call a poorly written verse/song? (Yeah, I just went there).
God
Creator of the Universe
ill o.g.
I love Big L, his death was a loss to the hiphop community.
I think people who have battlerapped here know that every emcee has a library of pre-writtens they use in their "freestyles."
I found that there's generally different "categories" of pre-writtens. Here are some commonalities:
1. How the emcee can defame or kick your ass.
2. Segues to #1.
3. "Fill in the blank" punches where the last word has a common rhyme like "why" "eye" etc. They are phrased so the emcee can put in a real-time detail into the selected pre-written to make it look like a real "punch".
Too many to write about.
There are tons of tricks. I'm not saying Big L was using them, or Pun would do that. But I don't think you can say that Pun was equivalent to Ras Kass regarding overall lyricism. You can usually tell who is making stuff up on the spot and who's spitting a pre-written on the microphone.
If you judge these - or have been a judge - you can't prove it's a pre-written, but if it is a super-complex rhyme or punch claimed to be made "on the spot" - most of the time it's a pre-writ.