DJ Green Lantern stuck out as one of the most original, creative mixtape DJs on racks, with elaborately blended intros that stitched together lines from dozens of verses to create entirely new ones. Rappers could talk directly to their core fans and to each other. Wipe-Me-Downĭuring their early-aughts height, physical mixtapes served an industry role much like social media does today: signings were announced, beefs unfolded, and with comparatively short rollouts, references could be made in real-time. Listen: Lil Boosie: Superbad: The Return of Mr.
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He became a new kind of rap star–touring packed venues throughout South, collecting suitcases full of cash upfront–who was also a depressingly old kind of rap star: the local legend who couldn’t bend the ear of White America.- Jayson Greene But he was something else entirely: a wild-eyed incarnation of Pac, an endless reservoir of pain who rapped with force and poetry in an indelible voice.
Until then, he was known for a lightweight-sounding regional hit in Baton Rouge called “Wipe Me Down,” the sort of track most rap listeners associated with younger kids, cell phones, and coordinated dances uploaded to YouTube. Wipe Me Down, so frenetically it came out as one long word.īoosie had something–everything–to prove. “WHO’SBADI’MBAD/SUPERBAD,” he screamed at us in the first minute of Superbad: The Return of Mr. In 2009, Boosie Badazz (then known as Lil Boosie) bolted into the mixtape circuit like a burning man approaching the sea.
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Listen: Juelz Santana: Back Like Crooked Crack Pt. Not to mention DJ Green Lantern flossing his pedigree as a producer up and down the tape–how did they possibly find that “ he wears a red bandana” sample?-Matthew Trammell Corral of horns and handclaps that fans were so thirsty for, they pried it from the rapper’s hands: it got so much burn before the proper release of his second album, What the Game’s Been Missing, that Juelz and his label had no choice but to tack it onto the end as a bonus. “Mic Check” was among the best beats of the year, an O.K.
“Dipset (Santana’s Town)” was a lay-up with shades of Southern crunk, and it gave the sense that you could throw Santana any beat and he’d get some solid ad-libs off, at the very least.īut the Back Like Cooked Crack mixtape trio gave him his own corner, and the second installment, arriving in the middle of 2005, was its peak. By 2005, Juelz Santana had earned his seat as the cocksure teenager at Cam’ron’s side: he’d mastered Cam’s new slow flow and brought to it a youthful fearlessness.
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