When you rap and say anything kinda conscious, all the conscious people approach you. So after ATLiens I got it all – from books on sex to [metaphysics] and religion. But you also get introduced to a lot of fake phony ass people, and I addressed it in the song. You find some of the fakest people with dreads pouring oils on you. And it’s really kind of mind-blowing when you’re a young person and you start to find out some of this is bullshit, so then you’re just out there searching.
Never be ashamed of how you live or where you from.
You stack a mill’, ***s will see how far you come.
Stay down, stay on your grind and yo digits’ll come.
Bottom line? You gotta shine, no matter what you become.
These streets is 40 percent of yo’ mind and 5 percent muscle,
10 struggle, 10 time, and 35 percent hustle.
The Dozens: A History of Rap’s Mama, by Elijah Wald. This looks promising. How the Beatles Destroyed Rock ‘n’ Roll was really strong. (via Dust to Digital)
Another thing that’s interesting about Atlanta is that it’s a real magnet. A lot of the people that define that music aren’t from there; they’re drawn there. Gucci Mane comes from Alabama.Waka Flocka was born in Queens. The amazing producer Lex Luger comes in from Virginia. T-Pain’s from Florida. Even when Lil B launched his own first co-sign post Pack, he goes and hooks up with Soulja Boy. Machine Gun Kelly, from Cleveland, goes to Atlanta and hooks up with Travis Porter. I think one reason why the city has sustained itself so well is that it has welcomed artists from all over the place.
Pitchfork: Yeah, even Ludacris is from Illinois.
KS: Right. There is this industry infrastructure. Maybe it’s because Atlanta is known as a comfortable place to live if you’re African-American and have some money, and people generally enjoy living there. Can it become the Nashville of hip-hop? With Nashville, it’s not even about a Nashville sound anymore. It’s just that if you want to go into country music, that’s where you go. It’s not impossible to imagine that Atlanta can get there.
Somehow, and this is weird to me, the labels are all still in New York, except for Interscope in L.A. But you see these people get contracts. Living here in New York, I got the feeling that the label people were signing Atlanta artists because they had to, but that there wasn’t much enthusiasm for them within the labels. It’s like the history of hip-hop in miniature because that’s how hip-hop used to be treated by the music industry, like: “I guess we’ll sign them because this is what the kids are doing, but we don’t really get it, and we don’t really want to spend more time on this stuff than we have to.” So, for better or for worse, the Atlanta stuff has been pretty grassroots.
Artists and fans in Atlanta don’t seem to struggle with [getting hung up on one style] so much. They don’t seem to get as hung up on it as people do in New York, which is probably the capital of hip-hop people getting hung up on stuff.
A genre doesn’t function as a genre unless it establishes the conditions of its own replication.
Ben Westhoff’s Southern hiphop starter kit listed at the end of the book. FYI.
The 2 Live Crew Is What We Are – The 2 Live Crew
We Can’t Be Stopped – Geto Boys
The Fix – Scarface
Diary of the Originator: Chapter 12 – June 27th – DJ Screw
Ridin’ Dirty – UGK
On Top of the World – Eightball & MJG
Most Known Unknown – Three 6 Mafia
Aquemini – OutKast
Soul Food – Goodie Mob
400 Degreez – Juvenile
Ghetto D – Master P
Country Grammar – Nelly
Aaliyah – Aaliyah (Anil Dash approved!)
Under Construction – Missy Elliot
Lord Willin’ – Clipse
Kings of Crunk – Lil Jon & the East Side Boyz
Down with the King – T.I. hosted by DJ Drama
Get Ya Mind Correct – Paul Wall and Chamillionaire
We the Best – DJ Khaled
Souljaboytellem.com – Soulja Boy
Tha Carter III – Lil Wayne
Murder Was the Case – Gucci Mane