it is a network. a record is a receipt, a shout-out, a recipe, a lesson, a warning, a claim on territory — and all of it doubles as documentation. some of it is true. some is a lie told well. most of it sits somewhere between exaggerated and understated, and the gap is the point.
you cannot read that as a timeline. a timeline has one thing happening after another. this was a community talking to itself — somebody jabs, somebody shifts position, somebody answers three years later on another man's album. every record is a move made against other records.
“Treat it like boxing: stick and move, stick and move”
— The Notorious B.I.G., Gimme the Loot, 1994
that is the whole method. this site is the footwork written down.
st. louis, long beach, detroit, a rapper and two singers — and the same two production teams under all of it. the map of who makes a record is not the map of where it is from.
the middle three are memphis and houston records that the coasts spent a decade calling regional. by the end of it the drum programming on this wall is theirs.
run the route
two names, and we'll find who connects them. try somebody obvious against somebody who has no business being there.
sampled from public sources, chopped, and put back together — same as its subject. name-drops
aren't hand-typed; they're found in the lyrics then checked one by one, because "chuck" in a bar is
usually not Chuck D. it's not complete and not always right: lyric sites hand you the wrong
words, credits point at compilations, and a diss still counts here as a connection. what's wrong gets
fixed in the open, on what's kickin.
no ads, nothing sold. it's a thank-you note with a search box.