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And that means what exactly ? That he's better ? Makes better music ? I could name 10 rappers from Pac's era that were better lyricist and are legends in their own right. Still not better than PAC.
RIP New York Hip-Hop? (Need Some Feedback)
- Thread in 'Music' Thread starter Started by trill nimley,
- Start date
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It means exactly what I said, his career isn't over and he's much different than Pac so i don't even get the comparison personally, but thats just my 2 cents.
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Damb Nay how you gonna style on Soul Tape 2? It's not just his best work it's some of the best hip hop I've heard in years
I'd buy it twice one for the whip one for the house it's that sick.
But you right he's low key holdin NY down and his last 4 projects are light years beyond all his albums. His freestyles/clue/triangle offense is all still classic material
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Fab is doing the MOST obvious thing, he's sampling (and using the same samples as) the great east coast records of the past. THAT'S what NY NEEDS to do to become relevant again. Where as Joey Badass and others are simply making tracks on what sound like Boot Camp Click leftovers, their basically adding water and stirring on a 90s recipe where as Fab is updating the spices, making it something that people are already consuming but staying true to the recipe. That is ALL NY needs to do to get back on track.
And if most of these artists (and fans) REALLY studied this hip-hop **** to its core you would realize that is what birthed this culture. DJs were taking records you already loved, already danced to, already got the party hype and essentially sampling via relooping the break in the beat. Somebody hops on the mic (usually the DJ in the early years) and gets the party hype. This is what birthed the art, it's what NWA and other west coast artists did with Parliment Funkadelic records that formed the G Funk sound. It's the foundation of our music. Whether it's James Brown samples of the 80s or Zapp. It's what formed the East Coast sound of the mid 90s. Sampling whether it was Premier, RZA, Beatminerz or Puff.
This is info I got from my OG that witnessed hip-hop from the absolute beginning. He's from Jackson Ave (South Bronx for those not familiar), 50 years old. Hip-hop was forming as he was coming of age. The reason BIG record "Juicy" worked is because parties used to jump to the Mtume "Juicy" record, Puff is from that era, seeing his parents party to it. "Big Poppa" is an Isley Brothers ("Between The Sheets") old school playa anthem, so of course it worked when they sampled it. "Warning"? Isaac Hayes. "Everyday Struggle" some other old Ns. "One More Chance"? Debarge. All the way through Bad Boys whole reign they sampled records their parents partied to and modernized them. At the same time Death Row/DJ Quik was doing the same thing with the funk. It's a proven formula.
That's why Fab has been able to survive better than anyone else from the class of 98. He's become the Masta Ace of his generation, was never the most skilled but had an ability to become a sonic chameleon, ever changing with the times without sounding old or trying TOO hard. No one would argue that either was the most talented from their class but they've found ways to continue their careers into their late 30s (Ace is almost 50 now) where the average rap career spans about 3 years on avg, regardless of skill level.
Is you listen to The Soul Tape trilogy you hear a lot of familiar samples. But they're reworked to a 2010's sound.
On part 3
"Get Back" uses the same sample as "Dead Presidents"
"Playa" uses the same sample BIG used on "Playa Hater"
"Foreigners" uses Fat Joe "My Lifestyle"
He's not the only one.
Nipsey used the same sample Diplomats used for "Who Am I" on "All Get Right" on CRENSHAW.
Kid Ink used the "Shook One's" sample on a track and featured Raekwon on it. Rick Ross sampled "You're Nobody"(Till Somebody Kills You), "93 Til Infinity".
Not sure what is hard for NY artists to understand about this. Provided most lack talent, and the others prolly don't realize how bad it truly is for NY music because like you see in here, there's the NY apologist who won't admit how bad it is. They would rather put on their replica Patrick Ewing Jersey from 95 and act as if nothing is wrong. And then you have the guys who have convinced themselves that the prime of NY was enough for them and they don't care going forward. These are the guys who's wives gain 40lbs every decade after her 20s. Not sure if you can say you love a culture that you've let go of because it was great during YOUR time. I guess that's enough for some, they now how better things to worry about, much more important than the culture that may have shaped the formative years of their lives. All of these attitudes are the REAL reason NY hip-hop is dead.
People like myself dare NY to be BETTER because we know it's possible. **** just goin to the playoffs, why not compete for chips? If you live something you have expectations, these Ns will tell you they live hip-hop but not want to see it get better, that ain't love, it's convenient enjoyment.
It's all in the samples. Outside of Swizz, pretty much every good and great east coast producer made it off of sampling the great records their parents played at their parties and social gatherings. So where are all the kids who's parents was playin Wu Tang, Mobb Deep, NaS, Diplomats, Fox, Kim, Noreaga and DMX? Or is it that everyone parents was playin UGK, Lil Keke, Hot Boys & Master P?
Fab made a good record out of sampling "Oochie Wally" and it featured Chris Brown. You know what that could've done for a new artist out of NYC? You know what that "Foreigners" record off Soul Tape 3 could've been had it been a Rowdy Rebel, Dave East or Manolo record? Cole used the Tribe and Outkast sample on 'Born Sinner'. Not sure what these out of region guys understand that Ns in NY don't get. Provided most people don't really know the foundation of hip-hop to begin with, but I mean come on.
Why has no one sampled Wyclef's "Apocalypse"? Jay-Z's "Girls, Girls, Girls"? "Ether"? "C.R.E.A.M."? Maybe Fab's Friday Night tape will inspire a new generation of producers, who knows. That kid Quez from LA made a whole project around that theme 3 months ago. Just flipping classics from the 90s, while it ended up sounding stale about halfway through the first listen it was a good attempt, and to the younger generation that may not be familiar with the originals it prolly sounds good, and serves as a history lesson.
there's talented producers making East coast records.
Mark Henry.
Harry Fraud.
Araab Muzik.
Listen to Banks new mixtape, pretty good production with mediocre rhymes.
And if most of these artists (and fans) REALLY studied this hip-hop **** to its core you would realize that is what birthed this culture. DJs were taking records you already loved, already danced to, already got the party hype and essentially sampling via relooping the break in the beat. Somebody hops on the mic (usually the DJ in the early years) and gets the party hype. This is what birthed the art, it's what NWA and other west coast artists did with Parliment Funkadelic records that formed the G Funk sound. It's the foundation of our music. Whether it's James Brown samples of the 80s or Zapp. It's what formed the East Coast sound of the mid 90s. Sampling whether it was Premier, RZA, Beatminerz or Puff.
This is info I got from my OG that witnessed hip-hop from the absolute beginning. He's from Jackson Ave (South Bronx for those not familiar), 50 years old. Hip-hop was forming as he was coming of age. The reason BIG record "Juicy" worked is because parties used to jump to the Mtume "Juicy" record, Puff is from that era, seeing his parents party to it. "Big Poppa" is an Isley Brothers ("Between The Sheets") old school playa anthem, so of course it worked when they sampled it. "Warning"? Isaac Hayes. "Everyday Struggle" some other old Ns. "One More Chance"? Debarge. All the way through Bad Boys whole reign they sampled records their parents partied to and modernized them. At the same time Death Row/DJ Quik was doing the same thing with the funk. It's a proven formula.
That's why Fab has been able to survive better than anyone else from the class of 98. He's become the Masta Ace of his generation, was never the most skilled but had an ability to become a sonic chameleon, ever changing with the times without sounding old or trying TOO hard. No one would argue that either was the most talented from their class but they've found ways to continue their careers into their late 30s (Ace is almost 50 now) where the average rap career spans about 3 years on avg, regardless of skill level.
Is you listen to The Soul Tape trilogy you hear a lot of familiar samples. But they're reworked to a 2010's sound.
On part 3
"Get Back" uses the same sample as "Dead Presidents"
"Playa" uses the same sample BIG used on "Playa Hater"
"Foreigners" uses Fat Joe "My Lifestyle"
He's not the only one.
Nipsey used the same sample Diplomats used for "Who Am I" on "All Get Right" on CRENSHAW.
Kid Ink used the "Shook One's" sample on a track and featured Raekwon on it. Rick Ross sampled "You're Nobody"(Till Somebody Kills You), "93 Til Infinity".
Not sure what is hard for NY artists to understand about this. Provided most lack talent, and the others prolly don't realize how bad it truly is for NY music because like you see in here, there's the NY apologist who won't admit how bad it is. They would rather put on their replica Patrick Ewing Jersey from 95 and act as if nothing is wrong. And then you have the guys who have convinced themselves that the prime of NY was enough for them and they don't care going forward. These are the guys who's wives gain 40lbs every decade after her 20s. Not sure if you can say you love a culture that you've let go of because it was great during YOUR time. I guess that's enough for some, they now how better things to worry about, much more important than the culture that may have shaped the formative years of their lives. All of these attitudes are the REAL reason NY hip-hop is dead.
People like myself dare NY to be BETTER because we know it's possible. **** just goin to the playoffs, why not compete for chips? If you live something you have expectations, these Ns will tell you they live hip-hop but not want to see it get better, that ain't love, it's convenient enjoyment.
It's all in the samples. Outside of Swizz, pretty much every good and great east coast producer made it off of sampling the great records their parents played at their parties and social gatherings. So where are all the kids who's parents was playin Wu Tang, Mobb Deep, NaS, Diplomats, Fox, Kim, Noreaga and DMX? Or is it that everyone parents was playin UGK, Lil Keke, Hot Boys & Master P?
Fab made a good record out of sampling "Oochie Wally" and it featured Chris Brown. You know what that could've done for a new artist out of NYC? You know what that "Foreigners" record off Soul Tape 3 could've been had it been a Rowdy Rebel, Dave East or Manolo record? Cole used the Tribe and Outkast sample on 'Born Sinner'. Not sure what these out of region guys understand that Ns in NY don't get. Provided most people don't really know the foundation of hip-hop to begin with, but I mean come on.
Why has no one sampled Wyclef's "Apocalypse"? Jay-Z's "Girls, Girls, Girls"? "Ether"? "C.R.E.A.M."? Maybe Fab's Friday Night tape will inspire a new generation of producers, who knows. That kid Quez from LA made a whole project around that theme 3 months ago. Just flipping classics from the 90s, while it ended up sounding stale about halfway through the first listen it was a good attempt, and to the younger generation that may not be familiar with the originals it prolly sounds good, and serves as a history lesson.
there's talented producers making East coast records.
Mark Henry.
Harry Fraud.
Araab Muzik.
Listen to Banks new mixtape, pretty good production with mediocre rhymes.
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Soul Tape 2 is flawless. Production + Lyrics.
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I know i might been in the minority but I really feel like Post 2003 Jae Millz really had the opportunity to be a mainstream success but it just wasn't meant to be. He was grinding he had the production he knew his history.
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First of all I feel I like a lot of new artists don't know their history and research the past to an extent. Second of all the sampling part is correct but I'm sure you know how difficult it is to clear a sample if your trying to sell it. Some artists want a ridiculous amount of writing credits just for using their sample and that makes it almost not worth it for the newer artist.
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for NYC hip hop I really like the asap mob
flesh prince
Banned
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The South got that soul so they ain't ever really need to sample shout out to Timbo, Zaytoven, Pharrell, Mannie Fresh and Organized Noise.
*I'm not saying they NEVER used a sample but typically we coming up with our own ****.
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Soul isn't exactly what comes to mind when I think of Timbaland, Neptunes & Mannie Fresh production.
Gotta go back to the basics.
Even Bobby Shmurda Buzz came from a free record, built a good enough buzz, signed and ended up becoming a billboard hit.
Gotta give away free music to generate interest. Fab could've went the retail route with any of the 3 Soul Tapes, but putting out a good product was more important. That's what propelled 'Young OG Project'. He hadn't had an official release for 5 years prior to that but still had a decent enough Buzz to make a dent in Billboards with a digital release.
Gotta go back to the basics.
Even Bobby Shmurda Buzz came from a free record, built a good enough buzz, signed and ended up becoming a billboard hit.
flesh prince
Banned
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Maybe you can say that for Timbo who really relies on sequencing and drums to get his flavor.
But Pharrell, Chad and Freshley definitely got off on those keys.
Especially Fresh. He was on some other **** during some of those Cash Money intros.
And I forgot to include Zaytoven.
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I'm from Brooklyn, born and raised. Haven't left for any extended period of time (sans a brief stint in Long Island for college). I consider myself to be a hip hop head, I've probably listened to a lot of rappers in different capacities.
Because I'm relatively young, I'll keep my 2 cents to the timespan between 2002ish, and now. I think most people remember the dynasty that was New York Rap, from every different borough. Hov, Nas, DMX & Ruff Ryders, Ja Rule, Fat Joe, Wu-Tang, The Diplomats and even Fabolous all have seen great success by putting out some of the top music we've ever heard. All of these artist span every different locations across NY, which all have completely different cultures within itself. So what happened? How did we go from having a dream team ensemble of artist, to becoming the rap equivalent of the 2010 New Jersey Nets?
I think there are multiple levels to why this is the case.
1) NY artist struggling to hang it up, and pass the torch: While Jay-Z maybe the only exception in developing the next successor (see: Kanye West, J. Cole to a certain extent), most of these artist are either a) still making music to this day, or b) failing to change the guard. How many New York rappers have really embraced the next wave, or generation of artists? In the midst of younger New York artist trying to make it out, most of the older generation of NY MC's have adopted the "Put yourself on" approach.
2) NY radio stations: Had it not been for the progression of technology, in relation to how we consume music and media, chances are most of the young successful rappers would not be here today. Mac Miller, Odd Future, Childish Gambino, A$AP Rocky, Action Bronson, Joey BA, TDE, Drake, Big Krit, Mick Jenkins, and Vince Staples can all link their notoriety through genuine word-of-mouth through youtube videos, free projects, and album streams. While I'm haven't spent enough time out of state, I'm willing to bet that chances are, their city radio stations have played their music when they release material. So why is it that in New York, I only hear Fetty Wap, Drake, French Montana and Future? Dave East only gets spins on the "new @2" on Hot 97, if he's lucky. Not to mention: Bobby Shmurda was the only NY "Artist to watch" on the airways; a local gang member who practically incriminated himself on wax. Action Bronson, Joey BA, and ASAP all had multiple projects put out, and Shmurda is the only thing i should be checking out?
Which leads me to my next point...
3) New York Rap music/culture is toxic: Within the NY music scene, there is absolutely no progression, no sense of a future. Ever since that "Golden Generation" of NY rappers have stepped down, we've been getting the same ultra-violent, mafioso, organized crime music. The only 3 artist that have strayed away from that are ASAP (To a certain extent) , Bronson, and Joey BA. You don't get the artist who is a "Good Kid in a Maad City", or the Kid from a small town who moved to a big city. All of these perspective provide different contexts, which create a sense of diversity in Hip-Hop. How many people can relate to killing a person and selling a key? More importantly, why is that something to aspire to? We're one of the few regions that still think that sort of music is cool to make.
Last but not least...
4) 50 Cent Nuking the NY Rap scene: Just when every NY rapper was doing their own thing (minus Hov and Nas battling for the supreme #1 spot), there was a man who always had a chip over his shoulder, and a problem with EVERYBODY. Before, rap beefs we're usually a) extremely personal and aggressive, and b) a track to track fest on who's really better than who. So when 50 took the time out to beef with every New York rapper, he would go out of his way to do it. Kiss, Nas, Fat Joe, Wu-Tang, Ja Rule, Hov, Cam, you name it. Even when he was on top, he would still send shots out to other rappers. He was the first to make it a big deal to clown rap sales, and equate financial success to who was really a good MC.
Because I'm relatively young, I'll keep my 2 cents to the timespan between 2002ish, and now. I think most people remember the dynasty that was New York Rap, from every different borough. Hov, Nas, DMX & Ruff Ryders, Ja Rule, Fat Joe, Wu-Tang, The Diplomats and even Fabolous all have seen great success by putting out some of the top music we've ever heard. All of these artist span every different locations across NY, which all have completely different cultures within itself. So what happened? How did we go from having a dream team ensemble of artist, to becoming the rap equivalent of the 2010 New Jersey Nets?
I think there are multiple levels to why this is the case.
1) NY artist struggling to hang it up, and pass the torch: While Jay-Z maybe the only exception in developing the next successor (see: Kanye West, J. Cole to a certain extent), most of these artist are either a) still making music to this day, or b) failing to change the guard. How many New York rappers have really embraced the next wave, or generation of artists? In the midst of younger New York artist trying to make it out, most of the older generation of NY MC's have adopted the "Put yourself on" approach.
2) NY radio stations: Had it not been for the progression of technology, in relation to how we consume music and media, chances are most of the young successful rappers would not be here today. Mac Miller, Odd Future, Childish Gambino, A$AP Rocky, Action Bronson, Joey BA, TDE, Drake, Big Krit, Mick Jenkins, and Vince Staples can all link their notoriety through genuine word-of-mouth through youtube videos, free projects, and album streams. While I'm haven't spent enough time out of state, I'm willing to bet that chances are, their city radio stations have played their music when they release material. So why is it that in New York, I only hear Fetty Wap, Drake, French Montana and Future? Dave East only gets spins on the "new @2" on Hot 97, if he's lucky. Not to mention: Bobby Shmurda was the only NY "Artist to watch" on the airways; a local gang member who practically incriminated himself on wax. Action Bronson, Joey BA, and ASAP all had multiple projects put out, and Shmurda is the only thing i should be checking out?
Which leads me to my next point...
3) New York Rap music/culture is toxic: Within the NY music scene, there is absolutely no progression, no sense of a future. Ever since that "Golden Generation" of NY rappers have stepped down, we've been getting the same ultra-violent, mafioso, organized crime music. The only 3 artist that have strayed away from that are ASAP (To a certain extent) , Bronson, and Joey BA. You don't get the artist who is a "Good Kid in a Maad City", or the Kid from a small town who moved to a big city. All of these perspective provide different contexts, which create a sense of diversity in Hip-Hop. How many people can relate to killing a person and selling a key? More importantly, why is that something to aspire to? We're one of the few regions that still think that sort of music is cool to make.
Last but not least...
4) 50 Cent Nuking the NY Rap scene: Just when every NY rapper was doing their own thing (minus Hov and Nas battling for the supreme #1 spot), there was a man who always had a chip over his shoulder, and a problem with EVERYBODY. Before, rap beefs we're usually a) extremely personal and aggressive, and b) a track to track fest on who's really better than who. So when 50 took the time out to beef with every New York rapper, he would go out of his way to do it. Kiss, Nas, Fat Joe, Wu-Tang, Ja Rule, Hov, Cam, you name it. Even when he was on top, he would still send shots out to other rappers. He was the first to make it a big deal to clown rap sales, and equate financial success to who was really a good MC.
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nice discussion going on over here... im actually in the process of writing for a project coming out next year... i see that 90s era is still where most hip hop head feel comfortable at... well i plan on taking it there wit a little twist...
not looking for any critics at the moment i have no mixtapes to go checkout, well i do but i wont make that selfish plug in this thread being that, that music is too old for me to push anyway... well thanks for all the critiques and outlook on your views of hip hop...
not looking for any critics at the moment i have no mixtapes to go checkout, well i do but i wont make that selfish plug in this thread being that, that music is too old for me to push anyway... well thanks for all the critiques and outlook on your views of hip hop...
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So I guess what we've learned from this is that don't expect any great NYC artist any time soon? 
or the next great NYC artists can blow up at any moment like usual when it comes to sustaining success in hip hop.
or the next great NYC artists can blow up at any moment like usual when it comes to sustaining success in hip hop.
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View media item 1802093
South Bronx legend KRS-One will release his thirteenth solo album and followup to 2012's The BDP Album on November 24. It's called Now Hear This and features the singles "Drugs Won" (as in, "they declared a war on drugs but drugs won") and "Sound Man." On a purely technical level, KRS-One's raps are still wildly impressive and he sounds as angry and vicious as ever. Not too shabby for a guy just about 30 years into his career.
KRS is also supporting the album with some live shows, including an album release party on November 23 at SOB's in Manhattan (tickets). That's four days before the 'Masters of Ceremony' show he's playing in Newark with Rakim, The LOX, Black Moon and more; and he's also got another veteran-filled Jersey show happening at Atlantic City's Boardwalk Hall on January 17 with Dru Hill, Kool Moe D, Big Daddy Kane, Whodini and more (tickets).
Now Hear This (Intro) 02:40
KRS-One & Peedo - You Da Real (Interlude) 00:43
Drugs Won 02:57
Duty 02:58
You A Millionaire 03:06
Sound Man 04:54 video
American Flag 04:02
This Is All We Got 03:59
Let's Go 04:02
Invaders 03:11
Biterz 03:03
It's All Insane To Me 04:42
Keep Talkin 03:35
The Lingo 03:22
From The Beginning Again 05:08
Name Brand Guy 00:44
More Love 04:05
G Simone - Oh Cruel Mob 03:00
South Bronx legend KRS-One will release his thirteenth solo album and followup to 2012's The BDP Album on November 24. It's called Now Hear This and features the singles "Drugs Won" (as in, "they declared a war on drugs but drugs won") and "Sound Man." On a purely technical level, KRS-One's raps are still wildly impressive and he sounds as angry and vicious as ever. Not too shabby for a guy just about 30 years into his career.
KRS is also supporting the album with some live shows, including an album release party on November 23 at SOB's in Manhattan (tickets). That's four days before the 'Masters of Ceremony' show he's playing in Newark with Rakim, The LOX, Black Moon and more; and he's also got another veteran-filled Jersey show happening at Atlantic City's Boardwalk Hall on January 17 with Dru Hill, Kool Moe D, Big Daddy Kane, Whodini and more (tickets).
Now Hear This (Intro) 02:40
KRS-One & Peedo - You Da Real (Interlude) 00:43
Drugs Won 02:57
Duty 02:58
You A Millionaire 03:06
Sound Man 04:54 video
American Flag 04:02
This Is All We Got 03:59
Let's Go 04:02
Invaders 03:11
Biterz 03:03
It's All Insane To Me 04:42
Keep Talkin 03:35
The Lingo 03:22
From The Beginning Again 05:08
Name Brand Guy 00:44
More Love 04:05
G Simone - Oh Cruel Mob 03:00
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Exactly what NY needs.
A new KRS One album.
I was gonna go to the album release party, but once I seen THAT was the official cover I used the $ on tree. How am I supposed to take you serious when you're shooting your album cover on a flip phone?
The next notable NY rapper will be from Queens.
NY hip-hop will pretty much be what it has been the past few years, I don't see any indication of that changin. This is what NY is. Producing very little homegrown talent in pretty much every field. We're the "Mecca" of hip-hop and can't produce a good enough crop of artists to at least gain attention from the alleged low level of talent that exist in the genre, and it's EVERY one and EVERY things fault except the true talentless population of NYers. NY is also the "Mecca" of basketball, who was the last GREAT player we produced? Kemba Walker? Lance Stephenson?
It's a new day, NY is unable to compete with a more even playing field. And people of color are gonna be out the city by 2025. So unless the next Mackelmore or Eminem is living in Bushwick, or Bed Stuy it's pretty much over.
We can try to convince our children and grandchildren that NY hip-hop once mattered.
A new KRS One album.
I was gonna go to the album release party, but once I seen THAT was the official cover I used the $ on tree. How am I supposed to take you serious when you're shooting your album cover on a flip phone?
The next notable NY rapper will be from Queens.
NY hip-hop will pretty much be what it has been the past few years, I don't see any indication of that changin. This is what NY is. Producing very little homegrown talent in pretty much every field. We're the "Mecca" of hip-hop and can't produce a good enough crop of artists to at least gain attention from the alleged low level of talent that exist in the genre, and it's EVERY one and EVERY things fault except the true talentless population of NYers. NY is also the "Mecca" of basketball, who was the last GREAT player we produced? Kemba Walker? Lance Stephenson?
It's a new day, NY is unable to compete with a more even playing field. And people of color are gonna be out the city by 2025. So unless the next Mackelmore or Eminem is living in Bushwick, or Bed Stuy it's pretty much over.
We can try to convince our children and grandchildren that NY hip-hop once mattered.
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Trill just posted an NY culture eulogy It really hurts yall pride that ish don't center around yall no more I see
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It really hurts yall pride that ish don't center around yall no more I see
He was telling hard truths though. Facts.
And it definitely burns NYC's soul that they aren't the center anymore. Tough pill to swallow.
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This is prolly home to the most black Culture in North America. Us not having a voice or presence is a blow to all of US.
But like most things, we won't realize that until it's too late.
But like most things, we won't realize that until it's too late.
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Nah dude, heck no. The most "Black Cultured" areas in North America would be Birmingham, Atlanta, St.Louis/Memphis, Louisiana, Detroit/Chicago. The westcoast, somewhere like Oakland maybe.
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What are you talking about
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Dude said NYC is home to the most cultured Black people...
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I said that?
All those places you named are populated soley by black Americans, you know how many different types of blacks are in Brooklyn alone? The West Indian influence here is crazy. Staten Island has the most Liberians of anywhere outside of Liberia itself. Ghanaians in the BX. The list goes on.
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I'll say it again Nay, if you're right and NY simply no longer has talented young artists on the come up then it truly is RIP.
There's nothing you can do with the problem of none of these ****** are talented. You can't go out and create a talented artist. You can manufacture a movement and try to live off w/e that person(s) learn skill wise but if they talentless and don't work hard it's like using one orange to quench the thirst of millions. Aint happening.
You literally gonna have to wait for the next generation and hope there's a huge improvement.
There's nothing you can do with the problem of none of these ****** are talented. You can't go out and create a talented artist. You can manufacture a movement and try to live off w/e that person(s) learn skill wise but if they talentless and don't work hard it's like using one orange to quench the thirst of millions. Aint happening.
You literally gonna have to wait for the next generation and hope there's a huge improvement.
