Yung Gleesh, “Its Sad Boy” f/ Yung Lean (2013)
prod by Young Sherman & White Armor
its best-of season again already n i still have my 2012 list floundering in drafts (my dc one; my at-large joint is only like six pages back). ill getem all up soon i hope, in between all this not at all rap related work in front of me, but smh its obvious I’ve been lackin this year. I’m still sitting on all these pics n notes that were meant for the city paper, stuff ranging from this past summer’s glizzy day to that time keef was supposed to perform at the star two summers ago n all sorts of stuff in between.
Its gotten to the point where I’m considering forwarding it all to tha gawd sarah godfrey n seeing if she can spin gold w my straw. her piece on Polo n bounce beat that ran last week is already essential litra-ture for anyone following the area’s gogo or rap scene:
Polo and TCB didn’t just create a new sound; they inspired an entire new universe of go-go. The rototom-dependent subgenre was initially maligned—some called it “noise,” others argued that it wasn’t go-go at all. Criticism of bounce beat was similar to what was said about the trap rap bubbling in other cities around the same time: It was blasted for its sometimes suggestive lyrics, its thwacking beat, its tempos that vacillated between syrupy and frenetic.
The brash style not only changed the way people danced and partied but became the music for a new chapter in D.C.’s story. If the swing sound carried a generation of Washingtonians through the rough ’70s and ’80s, a time when funk, jazz, and soul was a much-needed salve, bounce grounded them in the ’00s and ’10s, helped them keep their bearings at a time of shifting city demographics, when go-go’s epicenter realigned as the sound of black Washington, at least from the ’70s onward, was pushed to the suburbs.
The clash is real out here n nobody’s safe. Even within this new guard of gogo things weren’t ever a united front especially btwn old heads n young, as Polo describes in this 2008 interview w/ Fam. idk the whole story btwn TCB n TOB — its rare that anyone ever does — but its pretty obvious that “situation” or whatever still carries weight even among ex-TOB dudes.
And then, from the newly emerging rap side of things, there’s this hour long collection of street footage n block anthems from hoods all over DC that’s been advertised by these british promoters w/ local ties, Team Major/OMF, as a “documentary exposing Shy Glizzy”, who in a straight up shakespearean twist also happen to be the same dudes who took CHIEF KEEF of all ppl for more than $230,000 over a London no-show a couple months ago. enemies of enemies. lmao to alla that.
Anyways, i never meant for this get this long. All i originally wanted to do was post this “Sad Boy” edit i cut together sans Yung Lean’s disposable ass. Maybe one day, whenever noisey n wavriel’s Facebook illuminati crew stop fukkin around, Lean’s existence will make retrospective sense as the lone Södermalmian to appreciate n encourage fellow Södermalmians Yung Sherman n White Armor early on. Till then, Nas’ collab w/ Supreme NTM will stay the closest I’ll come to even trying to understand european rappers n their accents, n those dudes put out like a half dozen albums w/ sony.
YUNG GLEESH -- ITS SAD BOY (NO LEAN DOER EDIT)
prod. Yung Sherman & White Armor