DOCSLIB.ORG

Kurupt Kurupts Greatest Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kurupt Kurupts Greatest Mp3, Flac, Wma Kurupt Kurupts Greatest mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Kurupts Greatest Country: US Released: 2005 Style: Gangsta MP3 version RAR size: 1711 mb FLAC version RAR size: 1565 mb WMA version RAR size: 1197 mb Rating: 4.8 Votes: 449 Other Formats: ADX AAC VQF MP4 AA FLAC MP1 Tracklist Hide Credits 1 It's A Set Up 4:59 2 Who Ride Wit Us 3:10 Ask Yourself A Question 3 4:44 Featuring – Dr. Dre 4 Trylogy 2:15 5 We Can Freak It 4:04 The Hardest Mutha Fuckas 6 4:30 Featuring – MC Ren, Nate Dogg, Xzibit 7 Ho's A Housewife 4:43 8 Gitta Strippin 3:34 9 Girls All Pause 3:30 Sunshine 10 4:48 Featuring – Jon B 11 Gimme Whutcha Got 4:54 It's Over 12 3:26 Featuring – Natina Reed Dipp Wit Me 13 4:38 Featuring – RBX 14 Treat Her Like A Lady 4:09 15 Tha Streetz Iz A Mutha 4:10 Freak It Out 16 4:49 Featuring – Noreaga 17 Who Ride Wit Us (Remix) 4:09 Bonus Track Odd Squad 18 3:51 Featuring – TQ Kurupts Greatest Videos (31:42) DVD-1 It's A Set Up 5:25 DVD-3 Gimme Watcha Got 4:04 DVD-4 Ask Yourself A Question 5:20 DVD-5 Tha Streetz Iz A Mutha 4:57 DVD-6 Trylogy 4:00 DVD-7 Who Ride Wit Us 3:10 DVD-8 Girls All Pause 4:40 Companies, etc. Copyright (c) – Treacherous Records Phonographic Copyright (p) – Treacherous Records Manufactured By – Universal Music & Video Distribution Distributed By – Universal Music & Video Distribution Credits Co-producer – Blaqthoven (tracks: 15), Charm (tracks: 12), Mike Dean (tracks: 14) Executive Producer – Jeff Myatt, Tico Khrimian Producer – Bink! (tracks: 4, 9), D-Moet (tracks: 1), DJ Battlecat (tracks: 5, 16), Damizza (tracks: 18), Daz Dillinger (tracks: 8, 13, 14, 15), Dr. Dre (tracks: 3, 7), Fredwreck Nassar (tracks: 2, 6, 17), Jeeky Man (tracks: 12), Jon B (tracks: 10), MED (tracks: 11) Notes Catalog # as printed on CD: 02097-00482 Catalog # as printed on DVD: 02097-00480 ________________________________________ DVD is one long track with indexed sub-tracks. There is no sub-track #2 on the DVD. It skips from #1 to #3. Barcode and Other Identifiers Barcode: 8 02097 00480 6 Matrix / Runout (CD): 020 970 0482 01$ I [Universal logo] Matrix / Runout (DVD): 0209700480 D3N 01 V5A0P Mastering SID Code (CD): IFPI L009 Mastering SID Code (DVD): IFPI L250 Mould SID Code (CD): IFPI 0391 Mould SID Code (DVD): none Other (Stamped into inner ring of CD): MADE IN USA Related Music albums to Kurupts Greatest by Kurupt Hip hop Snoop Doggy Dogg - Death Row's Snoop Doggy Dogg Greatest Hits Electronic / Funk / Soul Chic And Sister Sledge - Freak Out: The Greatest Hits Of Chic And Sister Sledge Rock Testosterone Overload - Dirty Freak Power Ride Hip hop Various - Strictly Hip Hop The Video Megamix Hip hop DPG - Live (The Westside Radio Concert) Hip hop Banacek' - The Pipe Is A Mutha Hip hop Fillmore - V.I.P. Presents Westside Cruisin`Best Mixed By Fillmore Hip hop Kurupt - Gimme What U Got Megamix / Ask Yourself Megamix Hip hop / Funk / Soul Various - Smooth Meets Cool Westcoast Hip Hop From The Unknown Side Hip hop Kurupt - Who Ride Wit Us: Kurupt's Greatest Hits.
Load more

Recommended publications
  • Death Row Records
    The New Kings of Hip-Hop Death Row Records “You are now about to witness the strength of street knowledge.” —N.W.A. Contents Letter from the Director ................................................................................................... 4 Mandate .......................................................................................................................... 5 Background ...................................................................................................................... 7 Topics for Discussion ..................................................................................................... 10 East Coast vs. West Coast .................................................................................... 10 Internal Struggles................................................................................................. 11 Turmoil in Los Angeles ........................................................................................ 12 Positions ........................................................................................................................ 14 Letter from the Director Dear Delegates, Welcome to WUMUNS XII! I am a part of the class of 2022 here at Washington University in St. Louis, and I’ll be serving as your director. Though I haven’t officially declared a major yet, I’m planning on double majoring in political science and finance. I’ve been involved with Model UN since my freshman year of high school, and I have been an active participant ever since. I am also involved
    [Show full text]
  • Rappers Hip Hop Songs Targeting Presidential Elections
    Rappers Hip Hop Songs Targeting Presidential Elections Written by Davey D ID4181 Monday, 18 February 2008 23:58 - Rappers & Hip Hop Songs Targeting Presidential Elections By Hip Hop Historian Davey D With Obamania sweeping the country, people are buzzing about "Yes We Can," the song and video by Black Eyed Peas front man will.i.am. It cleverly pieces together excerpts from Barack Obama's speeches, with artists and celebrities such as John Legend, Common, Kate Walsh, Nicole Scherzinger, Herbie Hancock, Kareem Abdul-Jabbar and Scarlett Johansson repeating the senator's words and phrases. The main hook is the Obama catch phrase "Yes We Can." Will.i.am said he was inspired to do the project by the speech Obama made just after losing the New Hampshire primary. I was present for that incredible oration, which made the crowd feel as if he actually had won. The will.i.am song is now displayed on the Obama campaign Web site. "Yes We Can" has prompted a lot of comments about a rapper finally making a song for a presidential candidate. But while "Yes We Can" is nice, it was by no means the first. During the current contest, Common, among others, has expressed his support for Obama in song lyrics, most notably in his hit song ''The People''. In the Bay Area, D''Labrie, of the national grass-roots Hip Hop Congress, and Kev Choice, the Oakland-based keyboard phenom and rapper, have recorded political songs. D''Labrie's is a remake of Mims'' smash hit, "This Is Why I''m Hot," from last summer.
    [Show full text]
  • 2009.10月月月hiphop,R&B 621 曲
    2009.10 月月月月月月月月HIPHOP,R&B 621 曲曲曲、曲、、、1.6 日日日、日、、、4.63 GB 名名名名名名 アアアアアアアアアアアアアア アアアアアアアアアア BPM Outta Control (133 Bpm) Baby Bash Feat. Pitbull Funkymix 127 Sweet Dreams (128 Bpm) Beyonce Funkymix 127 Wasted (77 Bpm) Gucci Mane Feat. Oj Da Juiceman Funkymix 127 Whatcha Say (Part 1) (72 Bpm) Jason Derulo Funkymix 127 Whatcha Say (Part 2) (138 Bpm) Jason Derulo Funkymix 127 Run This Town (85 Bpm) Jay Z Feat. Rihanna And Kanye West Funkymix 127 Now Im That Bitch (Xxx) (123 Bpm) Livvi Franc Feat. Pitbull Funkymix 127 Now Im That Chick (123 Bpm) Livvi Franc Feat. Pitbull Funkymix 127 Trickn (138 Bpm) Mullage Funkymix 127 Number 1 (138 Bpm) R. Kelly Feat. Keri Hilson Funkymix 127 He Aint Wit Me Now (108 Bpm) Rich Girl Funkymix 127 Shake My (125 Bpm) Three 6 Mafia Feat. Kalenna Funkymix 127 Forever (79 Bpm) Drake Ft Kanye' West, Lil' Wayne & Eminem Funkymix 128 Drop it Low (88 Bpm) Ester Dean & Chris Brown Funkymix 128 Get Involved (122 Bpm) Ginuwine Ft Timbaland & Missy Elliott Funkymix 128 Replay (91 Bpm) I-Yaz Funkymix 128 Digital Girl (107 Bpm) Jamie Foxx Ft Drake & the-Dream Funkymix 128 Empire State of Mind (87 Bpm) Jay-Z Ft Alicia Keys Funkymix 128 Give it All U Got (125 Bpm) Lil' Jon Ft Kee Funkymix 128 LOL :) (78 Bpm) Trey Songz Ft Gucci Mane & Soulja Boy Funkymix 128 5 Star (77 Bpm) Yo Gotti Funkymix 128 Written On Her 125bpm Birdman Ft Jay Sean Future Heat Vol 9 Meet Me Halfway [PB Remix] 132bpm Black Eyed Peas Future Heat Vol 9 Unusual You 124bpm Britney Spears Future Heat Vol 9 Switch 120bpm Ciara Future Heat Vol 9 On To You 124bpm
    [Show full text]
  • Kurupt, Gangsta's (Feat
    Kurupt, Gangsta's (feat. Daz Dillinger) [Chorus - 1x: Daz & Kurupt] [D] - Gangsta [K] - Yeah blastin' on these sucka niggas [D] - Gangsta [K] - Yeah homie fuck them niggas [D] - Gangsta You do not know me very well But you will know me if you trip on me You niggas cannot get wit me... [Daz (Kurupt)] Who are them two niggas that are changin' the game? (Daz and Kurupt) Fuckin' it up, usin' our name up in vain (something Kurupt) So whatcha wanna do, let's ride, bang Up on these other-sided niggas... and ride on the game (There they go!) I retaliate, in the alley way, on a sunny day (Here we go!) Blast up on niggas for they tally way, let 'em on they way Boo-ya-ka, boo-ya-ka, you should've looked before you come out Boo-ya-ka, boo-ya-ka, you should've looked before you run out (Nigga!) [Kurupt] Who them niggas that are squabblin'?, blast (Kurupt and Daz) Quick to knock niggas square on they ass (You betta ask) Yeah them gangsta niggas back wit the smash, so quick, so fast Drinkin' straight gin outta the glass (Not if that ass) Look at all them niggas thinkin' that I'm free joke or somethin' Betta get the steppin' fo' the pump get to pumpin' and dumpin' Runnin' shit, smashin' shit, reckless, blastin' shit Dippin' in the cut, not givin' a fuck, you know Daz and Kurupt We just a [Chorus- 1x: Daz & Kurupt] [D] - Gangsta [K] - Yeah blastin' on these sucka niggas [D] - Gangsta [K] - Yeah homie fuck them niggas [D] - Gangsta You do not know me very well But you will know me if you trip on me You niggas cannot get wit me..
    [Show full text]
  • 3. SMACK THAT – EMINEM (Feat. Eminem) [Akon:] Shady Convict
    3. SMACK THAT – EMINEM thing on Get a little drink on (feat. Eminem) They gonna flip for this Akon shit You can bank on it! [Akon:] Pedicure, manicure kitty-cat claws Shady The way she climbs up and down them poles Convict Looking like one of them putty-cat dolls Upfront Trying to hold my woodie back through my Akon draws Slim Shady Steps upstage didn't think I saw Creeps up behind me and she's like "You're!" I see the one, because she be that lady! Hey! I'm like ya I know lets cut to the chase I feel you creeping, I can see it from my No time to waste back to my place shadow Plus from the club to the crib it's like a mile Why don't you pop in my Lamborghini away Gallardo Or more like a palace, shall I say Maybe go to my place and just kick it like Plus I got pal if your gal is game TaeBo In fact he's the one singing the song that's And possibly bend you over look back and playing watch me "Akon!" [Chorus (2X):] [Akon:] Smack that all on the floor I feel you creeping, I can see it from my Smack that give me some more shadow Smack that 'till you get sore Why don't you pop in my Lamborghini Smack that oh-oh! Gallardo Maybe go to my place and just kick it like Upfront style ready to attack now TaeBo Pull in the parking lot slow with the lac down And possibly bend you over look back and Convicts got the whole thing packed now watch me Step in the club now and wardrobe intact now! I feel it down and cracked now (ooh) [Chorus] I see it dull and backed now I'm gonna call her, than I pull the mack down Eminem is rollin', d and em rollin' bo Money
    [Show full text]
  • Andrzej Antoszek Catholic University of Lublin English Department American Studies Al. Raclawickie 14 20-950 Lublin, Poland Tel./Fax
    Andrzej Antoszek Catholic University of Lublin English Department American Studies Al. Raclawickie 14 20-950 Lublin, Poland tel./fax. (081) 5332572 e-mail: [email protected] HOPPING ON THE HYPE: DOUBLE ONTOLOGY OF (CONTEMPORARY) AMERICAN RAP MUSIC In a revealing interview with Elisabeth A. Frost, Harryette Mullen, one of the most enthralling African-American poets, tries to answer the question of contemporary black identity and authenticity, the search for which seems to the interviewer to be a rather “nostalgic gesture.” Mullen’s answer, the response of a literary figure who is-- at the same time-- a person living and teaching in Los Angeles and thus familiar with all the latest fads that black communities adopt, is full of concern for the inevitability of the changes that the global culture imposes on once unique identifying characteristics. Mullen observes that “part of what is tricky and difficult is wondering whether we even know what we believe about ourselves. So often we are performing, and we are paid for performing – we are surviving, assimilating, blending in. When are we ourselves? Beyond being either a credit or discredit to our race, who are we?” (Frost: 416). Mullen’s words, a shrouded lament for the disappearance of the singular and distinctive in favor of the global and homogenized, could easily be applied to the phenomenon which has soared from its Compton ragged origins to the riches of the luxurious corporate environment, turning poor boys with ghetto blasters into moguls of show business. Contemporary rap music has acquired in the course of a decade or so a double, triple, or even multiple ontology, capitalizing on its initial niche and vaguely ominous character and exchanging the message for endless permutations of the form.
    [Show full text]
  • “We Ain't Terrorists, but We Droppin' Bombs”: Language
    “WE AIN’T TERRORISTS, BUT WE DROPPIN’ BOMBS”: LANGUAGE USE AND LOCALIZATION OF HIP HOP IN EGYPT BY ANGELA SELENA WILLIAMS THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Linguistics in the Graduate College of the University of Illinois at Urbana-Champaign, 2009 Urbana, Illinois Adviser: Assistant Professor Marina Terkourafi ABSTRACT In this thesis I explore the localization of hip hop in the context of Egypt. I examine the process of localization in terms of the content (issues and topics), forms (language forms) and musical styles that are used in the cases of four Egyptian groups, MTM, Arabian Knightz, Y-Crew and Asfalt. I argue that despite one group’s (Arabian Knightz) frequent use of English, all the groups have become localized in terms of exploiting local themes and language conventions, as well as creating new language practices. I explore how the groups resist established usage conventions and redefine language ideologies. In demonstrating that language choices in hip hop lyrics do not merely reflect the existing social norms and language ideology, it will be seen that English, which usually functions as an ‘elite code’ in Egypt, is actually used in the lyrics to resist the English-speaking world. Through the production of rap music, the groups also change local traditions (i.e. meanings of local language), as well as create a space (via the Internet and media) for these traditions to spread (Pennycook 2007:139). I demonstrate that in regards to hip hop culture, localization is a process that involves local topics and the use of language conventions that authenticate the artists as being legitimate participants of hip hop culture while constructing their own hip hop identities.
    [Show full text]
  • Snoop Dogg FAN TV
    Presents SNOOP DOGG Cordozar Calvin Broadus (born October 20, 1971), better known by his stage name Snoop Dogg, is an American entertainer, rapper, record producer and actor. Snoop is best known as an MC in the West Coast hip hop scene, and for being one of Dr. Dre's most notable protégés. Snoop Dogg was a Crip gang member while in high school. Shortly after graduation, he was arrested for cocaine possession and spent six months in Wayside County Jail. His music career began in 1992 after his release when he was discovered by Dr. Dre. He collaborated on several tracks on Dre's solo debut, The Chronic and on the titular theme song to the film Deep Cover. Snoop's debut album, In addition to music, Snoop Doggystyle, was released in Dogg has starred in motion 1993 under Death Row pictures and hosted several Records. Doggystyle went television shows: Doggy quadruple platinum and Fizzle Televizzle, Snoop spawned several hit singles, Dogg's Father Hood and Dogg including "What's My Name" After Dark. He also coaches a and "Gin & Juice". In 1996, youth football league and Snoop Dogg was cleared of high school football team. He charges over his bodyguard's has run into many legal 1993 murder of Philip troubles, some of which Woldemariam. His second caused him to be legally album, 1996's Tha Doggfather, banned from the UK and was his last release for Death Australia, the UK ban was Row before he signed with No later reversed after a long Limit Records, where he legal battle.
    [Show full text]
  • Tash Rap Life Mp3, Flac, Wma
    Tash Rap Life mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Rap Life Country: Canada Released: 1999 MP3 version RAR size: 1316 mb FLAC version RAR size: 1126 mb WMA version RAR size: 1438 mb Rating: 4.9 Votes: 299 Other Formats: AUD MP2 MMF DMF MIDI ASF MP3 Tracklist Hide Credits Ricochet 1 3:15 Vocals – E-Swift, Uncle Leek, Xzibit 2 Cops Skit 0:14 G's Iz G's 3 4:31 Featuring – KuruptProducer – DJ BattlecatScratches – E-Swift Pimpin' Ain't Easy 4 3:15 Producer – Minnesota Scratches – DJ Green LanternVocals – Cha Cha Rap Life 5 4:51 Featuring – RaekwonProducer – Young Lord The Game 6 4:13 Producer – KnobodyVocals – Carl Thomas, Uncle Leek 7 Game Show Skit 0:18 Only When I'm Drunker 8 4:28 Featuring – E-Swift, J-RoProducer – Minnesota Vocals – Phillip Johnson Goggles Skit 9 1:03 Featuring – Danielle O'Donnell, E-Swift Nightfall 10 3:46 Producer – Fredwreck Nassar Bill Clinton Skit 11 1:04 Featuring – Troy D. Duran SmokeFest 1999 12 4:59 Featuring – B-Real, OutKast, Phil Da Agony Fallin' On 13 3:25 Producer – RockwilderVocals – Half Moon, Miki , Rockwilder Tash Rules 14 3:49 Producer – RockwilderVocals – LV Ice-T Skit 15 0:55 Featuring – Ice-T True Homies 16 4:50 Featuring – Phil Da Agony, Xzibit Blackula 17 3:42 Featuring – Tha Alkaholiks 18 Bermuda Triangle 4:11 Credits Producer – E-Swift (tracks: 1, 11-12, 15-18), Sir Jinx (tracks: 2, 7, 9) Other versions Category Artist Title (Format) Label Category Country Year 496360 2 Tash Rap Life (CD, Album) Loud Records 496360 2 Europe 1999 Rap Life (CDr, Album, Loud Records, none
    [Show full text]
  • Rapping Islam: a Comparative Study of Hip Hop Culture in Indonesia, Tunisia and the United States
    Rapping Islam: A Comparative Study of Hip Hop Culture in Indonesia, Tunisia and the United States Author Golpushnezhad, Elham Published 2017 Thesis Type Thesis (PhD Doctorate) School School of Humanities, Languages and Social Science DOI https://doi.org/10.25904/1912/2876 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/366343 Griffith Research Online https://research-repository.griffith.edu.au Rapping Islam: A Comparative Study of Hip Hop Culture in Indonesia, Tunisia and the United States Elham Golpushnezhad BA, MA School of Humanities, Languages and Social Science Griffith Centre for Social and Cultural Research Arts, Education & Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of philosophy 30 January 2017 1 Abstract The thesis analyses Muslim youth hip hop cultures in three countries of Indonesia, Tunisia and the United States. Hip hop and its Islamic roots have often been mentioned by African-American hip hop pioneers and the Muslim hip hoppers in Muslim countries. Hip hop often represents marginal youths’ symbolic resistance against racism, police brutality and poverty in an American context. Its marriage to Islamic ideology creates a space for further research and investigation. The hip hop prophecies of liberty, hope and success together with Islamic standards and moral values of redemption, equality and promoting virtue and preventing vice1, have shaped vibrant youth scenes in post-Suharto Indonesia (1998 onwards), post- Ben Ali’s Tunisia (2011 onwards) and the United states in the time of Obama (2009-2017). The thesis is built on data from ethnographic fieldwork that was carried out for 13 months (July 2014-august 2015) in Indonesia, Tunisia and the United States.
    [Show full text]
  • THE MISCELLANEOUS MEANING of GANGSTA RAP in 1990S
    RAPRESENTING: THE MISCELLANEOUS MEANING OF GANGSTA RAP IN 1990s AMERICA Master’s Thesis in North American Studies Leiden University By Inge Oosterhoff S1474839 19 December 2014 Supervisor: Dr. Damian Pargas Second reader: Dr. Adam Fairclough Table of Contents Introduction Approach to Danger 2 Chapter 1 Rapresent: Roots of Gangsta Rap 10 Chapter 2 Panic Zone: The Dangers of Gangsta Rap 32 Chapter 3 A Hazy Shade of Criminal: Gangsta Rap and Black Stereotypes 54 Conclusion Ain’t a Damn Thing Changed 74 Bibliography 81 1 Introduction Approach to Danger 1 “Rap is really funny, man. But if you don’t see that it’s funny, it will scare the shit out of you.” – Ice-T Gangsta rap has generated greater public controversy than any popular music genre in American history. Concern over popular music’s effect on society is not new, nor exclusively American. In the 1920s, the popularity of jazz music generated heated public debates over its corruption of America’s segregated youth. Similarly, rock and roll caused great uproar during the 1950s; as did punk music in 1970s Great Britain. In each of these cases, the new music genres incited public fear for its negative impact on youth; specifically concerning its effect on youth’s attitudes towards sex, drugs, violence, and lawlessness. Notably, America’s greatest moral panics were incited by black music genres. Moreover, public controversies over black music have historically affected the political orientation of the American public. This makes the relationship between American political history and controversy over popular black music a particularly interesting topic for research.2 Music and politics have always been intrinsically linked.
    [Show full text]
  • 50 VIOLENT RAP LYRICS THAT WILL MAKE YOU CRINGE in ''Bussdown'' Video
    SPECIAL FEATURES f TATE2010 OFTIMES KOBANG THE RAPPERS BEST GETS LYRICS USEDPUSHA FROM LOOK-ALIKES T ANDTEE SWIZZ HIP-HOP ON A HIGHER LEVEL BEATZGRIZZLEYTO DISS IN OTHER HISAND CORNER LIL RAPPERS DURK'S IN 'BLOODAS' VIDEOS NEWS MUSIC VIDEOS FEATURES LISTS LIFESTYLE FRESHMAN SHOP JSEARCH TRENDING: BRUNO MARS SUED BY RAP GROUP 2 CHAINZ "MODERN SLAVERY" VERSE YOUNG THUG, 808 MAFIA COMPLETE TAPE OFFSET CLAIMS EXTORTION GET OUR NEWSLETTER Email Address LATEST ARTICLES XXXTentacion Rejects Ski Mask The Slump God’s Feature Request Maxo Kream Works Out With Beautiful Women 50 VIOLENT RAP LYRICS THAT WILL MAKE YOU CRINGE in ''Bussdown'' Video Preezy | July 6, 2016 Paras Gri4n / Donna Ward / Thaddaeus McAdams / Roger Kisby, Getty Ima… Young Thug, Southside and TM88 Complete Joint Project r SHARE ON TWITTER t SHARE ON FACEBOOK u HOT HEADLINES Gilbert Arenas Jumps in Tamar Braxton War and Attacks Laura Govan, Vincent … Toughness has been an admirable trait in the world of hip-hop for quite some time. The game has always placed a premium on street cred, which is a testament to one's reputation throughout the areas they frequent and beyond. Kyle Richards and Bethenny Frankel Shopping in Aspen after Burglary Street cred can be attained through various means, but striking fear in others is one of the more prevalent -- and Cris Cyborg Celebrates After UFC 219 Title effective -- ways to go about being respected in the streets, as well as in the realm of hip-hop. Going back as early as Victory Against Holly Holm pioneers like Melle Mel, who was one of the rst street-certied MCs in rap, hip-hop had its fair share of imposing Tamar Braxton Attacks Dream Member Agures during the 1980s, including Just-Ice, Eric B., Big Daddy Kane and other legendary rap luminaries.
    [Show full text]