- Jan 2, 2010
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Complex really tryna act like Joe was nothing over there
Rap About Nothing: Hip Hop Chat Thread
- Thread in 'Music' Thread starter Started by brivera716,
- Start date
- Aug 6, 2012
- 57,881
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Damn yall, we just got wavez back. Now he bout to go ghost again
$tacy
formerly willchamberlain
- Nov 24, 2012
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Nivea came out quick as hell
- Mar 28, 2009
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I accept my L 
- Nov 20, 2007
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Daaaaaammmmmnnn
Never thought I'd see the day when somebody came for Em amd the diss would be this good.
Like dont get it twisted he been fell off but son was always on point with the diss tracks.
I probably need to get around to listening or figuring out who Em dissed on Kamikaze
- Aug 3, 2011
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Drake, migos, Mgk, budden, DJ academics guy, breakfast club guy, etc
- Sep 21, 2008
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That MGK diss hard as ****, the hook alone is comical.
- Sep 5, 2006
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- Nov 20, 2007
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Damn. Straight out of Curtis playbook dissing actual rappers.
All on one song or sprinkled throughout the album?
I remember when Em would only "diss" pop acts and then slowly crept in the lane of dissing bums like Benzino and then ppl from his hood.
- Aug 6, 2012
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- Aug 6, 2012
- 57,881
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Honestly it's a weak selection of people to diss
aNYone
Supporter
- Dec 31, 2012
- 28,751
- 33,772
Bruhhhhhhhhhb
Just now listened to that MGK.
MY GAWD.
Who knew
Just now listened to that MGK.
MY GAWD.
Who knew
Last edited:
- Nov 20, 2007
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Who would or should he diss today though?
- Aug 22, 2012
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@doxen5703 why neck though 
- Aug 6, 2012
- 57,881
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- Aug 22, 2012
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Dont ever remember Shady starting rap beef, he either was the one responding or he inherited someone else's. Pop acts and celebrities were fair game
- Aug 6, 2012
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Kind of. After a while it seems like he disses certain people because he knows they wont respond.
- May 15, 2003
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- Mar 28, 2009
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If you wanna body Eminem in 2018 you gotta use that whiteness to his disadvantage
-talk about how he called that girl a N* a lot of kids nowadays don’t remember that
-call him a culture vulture say he’s only using black ppl, black ppl already not really rocking with him these days
-talk about his lyrics on abusing women SJW will eat it up
Fatality, don’t matter if it’s True or not lol ppl will eat it up
-talk about how he called that girl a N* a lot of kids nowadays don’t remember that
-call him a culture vulture say he’s only using black ppl, black ppl already not really rocking with him these days
-talk about his lyrics on abusing women SJW will eat it up
Fatality, don’t matter if it’s True or not lol ppl will eat it up
- Aug 22, 2012
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I mean rappers dont always just diss rappers, their response would be a comment or joke, **** like that means nothing to me to be honest. I've always consider his disses to celebrities like South Park jokes. When it came to rappers he was locked and loaded with the exception of Royce. Seems like that situation honestly hurt him which is why he never released a record
- Jan 2, 2010
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None of the big rappers from his era ever went at him either. Matter fact a lot of them have said he's the one dude _'s don't want it with. I know it's cool now for people to act like Em was never good
but his peers have always put him in a different group.
- Nov 20, 2007
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The other guys on that list are relelvant. He didn't only diss MGK and Budden.People more relevant. He dissed a semi relevant MGK
I'm really asking who else specifically should he have dissed? He clearly feel type of way so who is more relevant he could've went at?
- May 15, 2003
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Top 40 Radio Has a Rap Problem
Kendrick Lamar, Cardi B and Migos make the most popular records in the country, so why aren't they thriving on pop stations the way white rappers do?
This problem is not unique to West. Scan the last six years of Billboard's Pop Songs chart, which tracks pop radio spins, and you'll quickly notice a pattern. Since the beginning of 2012, only one non-white rapper has been able to cross over from mainstream R&B/Hip-Hop (or "urban") radio and crown the chart: Drake, with "One Dance," which features minimal rapping. Nor is it the case that pop radio has mysteriously turned against hip-hop as a whole. During those same six years, white rappers have repeatedly scored pop Number Ones: Macklemore (twice), Eminem, Iggy Azalea (twice), Machine Gun Kelly, G-Eazy (twice) and NF. Aside from Drake, the only non-white rappers to reach Number One in this format in recent years have done it by collaborating with an A-list pop act – as Kendrick Lamar has done as a featured guest for Taylor Swift and Maroon 5 – or by making a record so far from the sound of mainstream hip-hop that rap radio wouldn't touch it (Flo Rida's "My House").
Tom Poleman, iHeartMedia's Chief Programming Officer, describes the Top 40 ethos as "just playing what's hot." Yet even though J. Cole's "Deja Vu," Future's "Mask Off," Lamar's "DNA.", Lil Uzi Vert's "XO Tour Llif3," Lil Pump's "Gucci Gang" and Migos' "MotorSport" were all Top 10 hits on the Hot 100 – which measures total cross-platform consumption, including streaming, sales and radio play – none of them made a dent in Billboard's pop airplay ranking. And while Migos' "Bad and Boujee," Lamar's "Humble." and Cardi B's "Bodak Yellow" were Number One hits on the Hot 100 – objectively the most popular records in the United States – they did not get enough radio play to enter the top 20 on Billboard's Pop Songs chart.
Perhaps it's unreasonable to expect Top 40 radio stations to act as a progressive force in the music industry, but presumably they are interested in making money by playing popular songs. So it's startling that at this moment, when hip-hop is utterly dominant, hits from the non-white rappers who remain at the genre's creative and commercial vanguard are so absent from pop radio's top slots. Intentionally or otherwise, Top 40 radio has seemingly adjusted to the ascendancy of hip-hop by creating an alternate ecosystem in which the rules that govern the rest of the music business do not apply.
The modern system of radio formats dates back to the late 1970s and early 1980s, according to Eric Weisbard, an associate professor at the University of Alabama and the author of Top 40 Democracy: The Rival Mainstreams of American Music. As radio listening started to migrate from AM to FM, "instead of just having one Top 40 format for all the hits, you started to have several formats representing different kinds of audiences that radio stations wanted to target," he explains. "Radio is deceptive," he adds. "It's not selling music to listeners, it's selling listeners to advertisers."
In the case of Top 40, radio is marketing a very specific niche to those advertisers. "What a programmer of a Top 40 radio station imagines is that the ideal listener is a mom in a car with her daughter," Weisbard says. "That's a stereotype in the industry."
The interplay between radio formats has fluctuated over time, and the racial composition of the singers on Top 40 stations – famous examples include Z-100 in New York, Kiis-FM in L.A. and B96 in Chicago – moves accordingly. "There are moments when Top 40 seems very white," Weisbard says, pointing to the post-disco, pre-Michael Jackson moment in the Eighties as well as the late 2000s era of turbo-club singles. On the flip side, he notes that the pre-Beatles Sixties and the early 2000s were moments when pop radio played multiple records by non-white performers.
Machine Gun Kelly seen at KAABOO 2017 at the Del Mar Racetrack and Fairgrounds in San Diego.Invision/AP/REX Shutterstock
Historically, a programming director's decision to put a record into rotation has depended on her personal preferences and the reactions of both listeners and advertisers. "Sometimes there's a record that's not acceptable due to race reasons," Weisbard says. "We have lots of records like that early in the history of hip-hop."
Even before preferences come into play, though, programmers aren't picking from a hat that contains every possible single: Major-label promotional efforts can have a large impact on the pool of songs that end up on a radio playlist. "If a record's not being promoted [to a certain format], you can pretty much, at this point, count on radio not taking the initiative," says radio business veteran Sean Ross.
This has important ramifications, because major labels have often failed to prioritize promoting rap records to the pop format. Reza Sarrafieh, who spent more than a decade as an urban promotions executive at Interscope Records, says that "every single meeting was always a struggle" for this reason. He remembers feeling, "Why the fukk can't you guys over at Top 40 promotion work with my records that I've got Number One on urban?" "Labels have been too slow to understand the value of rap," he adds. (Several major labels declined or ignored requests to comment on their promotional practice
https://www.rollingstone.com/music/music-news/top-40-radio-has-a-rap-problem-630658/
It's not about white radio, it's bigger, it's about white supremacy
They're going to put their own in the forefront. Look at Sam Smith and Adele. Black R&B has never ever got pop play. Mariah and Whitney had to go pop to get love.
White people search for and promote the white version of our music, Brittany Spears, Backstreet Boys, Justine Timberlake, Em...
His sauce stealing aside, who waits until they get 30 to start wearing dorags?
- Aug 22, 2012
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He came up off battle rap, fans will be fans but some of the greatest of all time MC's respected his pen, in the underground and the mainstreamNone of the big rappers from his era ever went at him either. Matter fact a lot of them have said he's the one dude _'s don't want it with. I know it's cool now for people to act like Em was never good
EDIT: Ja Rule was the only huge mainstream name who went at him
- Nov 20, 2007
- 87,873
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Sounds like what Logic would do if he had beef with Em.
