tumblinerb:

Spinning off of my Nicki Minaj review, I ripped four hours of the pride of Philadelphia spinning on Power 99 and posted it on my other rap blog.

I’d like to do more shit like this and if you have any other suggestions for local mixshow DJs with unique taste and online streams please do let me know.

This weekend Noz did the lord’s work in allowing people to hear the mix show of America’s nicest DJ: DJ Diamond Kuts. I just started listening to her mixes, after I learned she did the beat for Nicki Minaj’s “Stupid Hoe” (still one of the best rap singles of the year), and hearing her show was a must listen if you like rap music and any number of its offshoot genres that have come up in the last couple decades (Bmore Club, Bounce, Travis Porter/FKi dance tracks, New Jersey Club, and any kind of Southern Rap).

If you haven’t heard her mix show get ready to experience lots of air-horns, radio edits of songs (since this is a FM radio broadcast), and a high number of unsearchable songs that probably won’t be heard again (somewhere in the second hour is a couple minute mix of Waka Flocka Flame adlibs that is either some Jersey Club track or Diamond Kuts chopping up a song to hell live, but either way it is definitely a highlight). Besides the sheer amount of danceablity in her mixes, which shouldn’t be overlooked as it is impossible not to want to dance hearing multiple version of “Da Dip” playing there are other fun observations on rap music made.

Her mixes along with most good DJs heard on late night rap stations end up weaving in different decades of rap music with each other and erase any arbitrary ideas about genre distinction. No Limit/Cash Money Records would typically just be “Southern Rap”, but when played near actual Bounce songs, it just highlights their call-and-response origins and gives the music some proper context rather than being paired with contemporary more New York based rap. Going back even further, you get the influence of stuff like Hip-House and Miami Bass, which makes hearing something like “Shots” not sound too out of place in this multiple generational dance party. I could go on about gender, genre, post-regionalism, and other rap nerd shit, but I’ll save that for another day, and just say: Listen and take in how much variation—and don’t forget similarities—exists between all of these different regions and decades of rap and dance music.