puntiniCAZpuntini

<< My ellipses, where not in groups of three, substitute a word with as many letters as there are ellipses. >> Okay, then explain these two "a finger, an elbow and.." And? And + 2 missing letters. Enlighten us. Then tell us about this """so similar to ours but that.. just a comma, """" What? Checca just needs a comma? Chela just needs a comma? Malagoli teaches, not you.

I am advised by the production to specify that all those who were called "b-boys" in the 80s, and therefore do not fall into the category of the "90% of ignorant high school students," were all true b-boys, in the sense of Breakers. The Italian scene was entirely born from Break, so none of them ever cared to understand what the rappers were saying; they were busy with other things. Those who studied English and metrics are the ones from the second wave, who were in high school in the early 90s. In fact, today's rappers, belonging to the "second wave," are much more "Americanized" compared to those from the first... and also technically millions of times stronger.

<< Sean (if the album creators [...] I don't think they would have even called him into question)>> Even if you know how to "be hip-hop," it seems you understand jack about Hip-Hop, bro. Friendship comes first (when the troubles come true, I ain't got no guns BUT I GOT MY CREW), so even if my brother's a piece of shit, he's my brother and he sings on my record. Let me give you a very recent example: Noyz Narcos & Chicoria. Can you honestly tell me that if Chicoria wasn't friends with Narcos, he would appear on his albums like the various Pequeno, Marracash, etc.? I hope not. Crew mates are crew mates; it's the only beautiful and real thing about Hip Hop; the rest is bullshit, crap, and two spoons of diarrhea. Even after 20 years, I find people I haven’t seen in ten, but we still feel connected, and we only talk about Rap. You really understand nothing about hip-hop, trust me. << You should ask the hundreds of people who were under the stage giving their support to this and other groups. >> Hundreds of people? I used to go to the jams, and if there were 100 people, it was already a victory, let’s not talk bullshit like "the good 'ol days." Back in those days (94), rap was already “out of style” (the trend in Italy exploded in 90 only to die in 92), and trust me, the hundreds of people you’re imagining are just in your head; today you can talk about hundreds of people. << Tastes are subjective, but arrogance is not. >> Instead, you're modest, talking about times you didn't live through as if you were King Pinzu or Militant Ha.

<< I don't appreciate your sarcasm >> I'm being serious. << I really don't think it was funny in the first place >> No first place, I was there, and I laughed. Not alone, we all laughed together. << The artists involved were trained in a period before its release, during which (according to no one but me) it was UNTHINKABLE to do Rap in a language other than English. >> Others thought about it. << I strongly doubt it was a way to put themselves at the same level as the Americans >> You don't understand. The point was that we listeners compared them to the Americans. All of us, in fact, Radical Stuff didn’t sell a damn thing, but nothing at all, Rapadopa in comparison is a platinum record. In the sense of "nice cd from Gruff, scary Italian rap!", what crap "Radical Stuff, shitty rap in English!". Regardless of what they wanted, you have to put yourself in 1994 mentally, and if you do, you’ll understand that there weren’t any adult B-Boys who knew English perfectly, the B-Boys were 90% ignorant high school students, it was too new to have "adult" admirers. So for us, between not understanding a thing and feeling their lacking flow, we understood nothing and felt the flow of New York's Masters. << I believe they thought they could take ownership of a language that wasn't theirs >> A language that wasn’t THEIRS? Aside from Kaos, the other two are native English speakers. Too bad they didn’t know how to use that language.

Are you telling me that King is unaware that ellipses are THREE and ONLY THREE, so they use them randomly like the Bimbiminkia on Facebook? Are you also telling me that King doesn't know the grammatical rules that govern the use of capital letters? Or what are you trying to say to me?

I don't know what dogocrazia is, but it seems to me that the beats of the albums by Club Dogo are made only by Don Joe, and it's him who has changed style more than Fini & Ciccio. He uses horrible 80s keyboards and other melancholic samples that are suicidal, then adds autotuned choruses that completely ruin everything. Anyway, I wasn't extending the discussion to the whole group, I was only talking about that Magro who, when taken individually, can even outshine a lot of Americans.

You can forgive the catchphrases like "smash everything" or "sgrilla," what's wrong with scamming a little money from the kids? After all, Pequeno records at least 20 tracks a year, if not 35 (he's literally everywhere), throw out the ones for the kids and every two years you’ve heard 10 or 12 good tracks; that's the composition pace of the old school. I’ve always known that one for the money, two for the show or better yet "Uno per la Grana, Due per lo Show, Tre per il Funk che ti do"; you can't really say they’ve changed the order of the addends (because in Rap, it would change the outcome). The fat one is the son of ignoramuses and former Milan ultras, while Pequeno is the son of Marco Fini (check out what books he’s written and translated, he's not just some idiot), of course he has a whole other depth and knows how to exploit marketing. Don Joe, nothing against him, I prefer Deleterio & Dj Harsh but not because he's bad. Marracash is technically skilled but doesn't resonate with me, the others from the Dogo Gang are all standard, except for Aken 16K, who might have been good as a writer but as a rapper is truly irritating, and Cano-Caneda (also 16K) who has always been above average and always will be, as a Writer, BeatMaker, and Rapper. Certainly, as a Writer, he was something inhuman, for me the best in the history of Italian illegal aerosol art.

I don't know the Dogo well, but I know Pequeno well. For me, it's not that he's mimicking - he would have done that earlier, not later - but it's just that now in Italy (especially in the north) Rap is selling, so the "scene" is starting to have a lot in common with New York. They really have the money, they get interviewed on TV and in many newspapers because someone's actually interested in their opinion, he (Pequeno) really has a clothing line, he really has women, even Mistaman is dating a HOT GIRL, imagine if Pequeno doesn’t have women. He talks about their life, and their life now is rhinestones and sequins; what else should they talk about, the difficulties of the small square? They would be idiots if they had stuck to the Mi Fist style, instead just as they have changed, their themes change too, like from the Manual of Rap. I don’t listen to the Dogo, because I couldn’t care less about rhinestones and sequins, but from a purely technical standpoint, they're okay. I follow Pequeno in side projects, Kaos can outdo him on meaning, but he always uses the same tempo. Neffa could outdo him on flow, but he includes eight hundred meaningless words just to finish the rhyme. So I'd say he can easily spit on any Milanese product before him (considering Kaos "is musically from Bologna") without anyone saying a word. In fact, from the old to the new school, they are respected by all (I personally asked Kaos and Danno what they thought, not exactly the last two idiots; Kaos is often sampled in Pequeno's tracks).

I'll tell you one thing though: and the mustache? What's up, itchy?

Are you telling me that King is unaware that ellipses are THREE and ONLY THREE, so they use them randomly like the Bimbiminkia on Facebook? Are you also telling me that King doesn't know the grammatical rules that govern the use of capital letters? Or what are you trying to say to me?