#fatjoe

[the-most-humble-blog]

Global Borrowers, Foundational Creators: Hip-Hop Belongs to Foundational Black Americans, Fat Joe

It’s time to have a real conversation. Hip-hop didn’t just spring out of thin air, and it sure didn’t emerge as some global kumbaya project where everyone held hands and equally contributed. Hip-hop is a cultural expression born directly from the experience of Foundational Black Americans (FBAs). Period.

So when Fat Joe flaps his gums, casually suggesting that hip-hop was some kind of cultural potluck with no clear origin, it’s not just wrong—it’s a disrespectful erasure of Black Americans’ legacy. Here’s why Fat Joe, and anyone parroting his nonsense, needs to sit down, open a book, and recognize who built the house he’s living in.

The Birthplace of Hip-Hop: FBA Struggles, Creativity, and Culture

The Bronx in the 1970s was a tough place—economic despair, systemic neglect, and racial discrimination were daily realities. For Foundational Black Americans, whose ancestors endured centuries of slavery, segregation, and systemic racism, hip-hop was born out of resilience and innovation. It was more than music; it was a way to turn pain into art, to reclaim agency in a world that continually tried to silence them.

Graffiti, breakdancing, DJing, and MCing—the four pillars of hip-hop—were deeply rooted in FBA culture and history:

Graffiti: A visual rebellion, a way to carve out a presence in a city that erased Black voices.

Breakdancing: An art form born from Black American jazz dance traditions and martial arts influences, adapted and redefined by FBA youth.

DJing: Techniques like scratching and mixing evolved from traditions of Black American music—jazz, blues, funk, and soul.

MCing: The verbal tradition of storytelling, roasting (the dozens), and call-and-response, all rooted in FBA oral traditions.

While non-FBA individuals like DJ Kool Herc contributed to technical innovations, the cultural fabric and ethos of hip-hop are undeniably FBA. The very foundation Herc built upon—funk records, soul music, Black American slang, and cultural storytelling—was created by FBAs long before a single turntable was scratched.

Why This Matters: Cultural Borrowing Isn’t Creation

Let’s get something straight: being part of something is not the same as starting it. Latinos and other groups contributed to hip-hop’s growth, no doubt. But creating something from scratch? That was FBA ingenuity.

Fat Joe’s comments are part of a larger problem: the global habit of cherry-picking contributions while erasing the origins. It’s the same dynamic we’ve seen with jazz, rock ’n’ roll, and blues—genres Black Americans pioneered, only to see their contributions downplayed or outright stolen. Hip-hop is no different, and we can’t allow that pattern to repeat.

To borrow from a house analogy: Foundational Black Americans laid the bricks, raised the walls, and built the damn roof. Everyone else just moved in.

Fat Joe, Please Take a Seat

Fat Joe’s claim that hip-hop was some global melting pot ignores reality. Hip-hop came from the Bronx, yes—but it came from Black Americans living in the Bronx. It came from their pain, joy, and ingenuity. To suggest otherwise isn’t just ignorant; it’s insulting.

Here’s the thing, Joe: No one’s denying your place in hip-hop as a Puerto Rican artist who contributed to its growth. But contributing is not creating. Acknowledge your role as a participant, not a pioneer. It’s not that hard.

When you try to rewrite history, you’re doing the same thing colonizers did to indigenous cultures—stealing credit while stomping on the people who made it possible. Do better.

FBA Legacy: The Backbone of Global Hip-Hop

Today, hip-hop is a billion-dollar global industry. But let’s not forget who planted the seeds. Every rapper spitting bars in Tokyo, London, or Johannesburg owes their craft to FBA creativity. The slang, the style, the storytelling—it all traces back to Black American communities who turned their struggles into an art form that resonated worldwide.

Let’s give credit where it’s due. Non-FBA communities can and should celebrate their contributions to hip-hop’s evolution. But hip-hop’s origins belong solely to Foundational Black Americans. That’s not up for debate. That’s history.

The Bottom Line: Hip-Hop Is Black American History

Fat Joe, take note: Being loud doesn’t make you right. Hip-hop is not a buffet where everyone gets to claim equal credit. It’s a cultural masterpiece crafted by Foundational Black Americans—a gift to the world, born out of pain, resilience, and relentless creativity.

So let’s set the record straight: Hip-hop isn’t “global” in its origins. It’s FBA. Respect it, acknowledge it, and stop trying to rewrite it.

[hypebeast1ife]

Fat Joe for OVO x NBA

[instructionsonback]

[bricedavismedia]

T.I. Addresses Lil Wayne Beef Rumors with Fat Joe!

T.I. speaks on the creations of "Swagga Like Us" (2018) and his relationship with Lil Wayne on STARZ with Fat Joe.

YouTube: https://www.Youtube.com/BriceDavis Website: https://www.TheBriceDavis.com

[omanxl1]

FULL VINYL | Soulful Hiphop (Decades in Rhyme) | DJ Coral The Animal@Oeuvre Bar

Digital Crate Digging Continues as we proceed and continue with this Terrible  / Terrific Tuesday edition; so named because things can go either way! The saga / struggle continues as life goes on as the toil and strife goes on! we fight on claiming the terrific outcome then celebrating in advance as we let the music play! We just told you how we get down at the I-20 Chronicles based on remote…

[heavyhittas]

Fat Joe Reflects on Unreleased Collaboration with The Notorious B.I.G. Dissing 2Pac

Fat Joe recently opened up about working with The Notorious B.I.G. on a joint album, recalling that they cut a range of five to ten songs together. This lost collaboration is considered one of hip-hop's intriguing artifacts and was highlighted on the anniversary of Biggie's death. During his Instagram Live show and on his The Fat Joe Show, Joe revealed that the unreleased tracks contained disses aimed at 2Pac, and out of respect, since both Biggie and 2Pac have passed on, he decided those tracks should never see the light of day. The project, which represents a compelling moment in hip-hop history, was allegedly verified by Puff Daddy and others, marking a collaboration that, despite being real, will likely remain a well-kept secret.

Purchase Notorious B.I.G.'s autobiography "It Was All a Dream: Biggie and the World That Made Him" here: https://amzn.to/3ONW19r

Social:

YT: http://youtube.com@heavyhittas

Twitter: http://twitter.com/heavyhittas​

IG: http://instagram.com/heavyhittas​

[hiphopraisedmetheblog]

Fat Joe Admits He's 'Confused' By Some Of Today's Rap Music: 'That's Hip Hop?'

At Hip Hop Raised Me The Blog, we pride ourselves on celebrating the diverse voices and evolving sounds within the hip-hop community. Recently, Bronx legend Fat Joe opened up about his feelings towards contemporary rap, and his candid remarks have sparked a dialogue about the state of the genre today. As we honor the evolution of hip-hop, it’s essential to reflect on the perspectives of artists…

[admiral-gabriel]

Crash OUT: Busta Rhymes arrested 🚩

[kicksaddictny]

Video: Melo & CP3 Called Out by Fat Joe for Being 'Cheap' Over Sneakers

Fat Joe recently called out NBA stars Carmelo Anthony and Chris Paul, jokingly labeling them as "cheap" for not hooking him up with sneakers. The rapper, known for his massive sneaker collection, playfully expressed his disappointment, hinting that he expected more generosity from his friends in the league. While it’s all in good fun, it’s clear Fat Joe doesn’t shy away from speaking his mind when it comes to kicks!

[almahiphop]

 Fat Joe - Jealous One's Envy (24/10/1995)

Alma Underground Blogger

Fat Joe, cuyo nombre real es Joseph Antonio Cartagena, nació el 19 de agosto de 1970 en el Bronx, Nueva York. De ascendencia puertorriqueña y cubana, Fat Joe creció inmerso en la cultura del hip-hop que florecía en su vecindario. A principios de los años 90, inició su carrera en la música bajo el nombre de Fat Joe da Gangsta, lanzando su primer álbum, Represent, en 1993. Su estilo lírico y su presencia en la escena underground lo ayudaron a ganar reconocimiento rápidamente.

Spotify

El 24 de octubre de 1995, Fat Joe lanzó su segundo álbum de estudio, Jealous One's Envy, bajo el sello discográfico Relativity Records. Este álbum marcó un paso crucial en su carrera, mostrando una evolución en su sonido y letras. Producido por figuras de renombre como DJ Premier, Diamond D, Domingo, y L.E.S., el álbum consolidó a Fat Joe como una figura influyente dentro del rap de la costa este. Uno de los aspectos más notables del disco es la primera aparición de Big Pun, un joven rapero neoyorquino que colaboró en la canción "Watch Out". Esta colaboración fue el comienzo de una relación creativa que definiría gran parte de la carrera futura de ambos artistas. Jealous One's Envy no solo permitió a Fat Joe destacarse como un líder del rap en el Bronx, sino que también lo ayudó a alcanzar un éxito comercial más amplio. El álbum debutó en el puesto número 71 en la Billboard 200 y rápidamente escaló posiciones en las listas de éxitos. En la categoría de Top R&B/Hip-Hop Albums, alcanzó el puesto número 7, convirtiéndose en su primer proyecto en llegar al top 10 de este ranking. Jealous One's Envy fue un reflejo del crecimiento artístico de Fat Joe, consolidando su presencia en el rap y anticipando el futuro éxito que lograría en los años venideros.

 Featurings:

KRS-One (Bronx Tale)

Doowop (Fat Joe's In Town)

Raekwon (Respect Mine)

Big Punisher (Watch Out)

Es primera aparición de Big Punisher (Big Pun) en un disco de rap comercial donde colaboró junto a otros artistas como Armageddon y Keith Nut. Esta colaboración fue clave en la carrera de Big Pun, ya que lo introdujo al público masivo y marcó el comienzo de su ascenso en la escena del rap neoyorquino.

Productores:

Diamond D

Domingo

L.E.S.

DJ Premier

Joe Fatal

Fat Joe 

El disco contó con dos sencillos, Success y Envy

Fat Joe - Success (Single)

[freshthoughts2020]

[tvrundownusa]

tvrundown USA 2024.10.04

Friday, October 4th:

(exclusive): Curses! (apple+, animated season 2 available, all 10 eps), The Charlie Puth Show (Roku, mockumentary series, all 6 eps), "Faceoff: Inside the NHL" (APrime, hockey docuseries, all 6 eps)

(movies): "V/H/S/Beyond" (Shudder, horror anthology), "The Diary (El Diario)" (APrime, suspense thriller, ~80mins), "CTRL" (netflix, Indian A.I. thriller, ~100mins), "The Platform 2" (netflix, Spanish horror-thriller, 100mins), "It's What's Inside" (netflix, psychological horror-comedy, ~105mins)

(streaming weekly): La Maison (apple+), Pachinko (apple+, penultimate), The Great British Baking Show (netflix), RuPaul's Drag Race Global All Stars (Para+)

(also new): Austin City Limits Music Festival 2024 (hulu, day 1 livestream), Hannah Swensen Mysteries: "A Sprinkle of Deceit" (HMM, 2hrs)

(hour 1): Power (Book II): Ghost (Starz, series finale), Whose Line Is It Anyway? (theCW, 60mins)

(hour 2): American Historia: The Untold History of Latinos (PBS, part 2 of 3), Fat Joe Talks (Starz, weekly interview series premiere), Inside the NFL (theCW, week 4), The UnXplained (HIST, season 7 opener), Scariest House in America (HGTV, Halloween-themed premiere), Tia Mowry: My Next Act (WEtv|AllBlk, reality series premiere)

(hour 3): Scare Tactics (USA, prank series revival premiere), Scare Tactics (Bravo|SyFy|E!, first ep only), "Social Studies" (FX, ~85mins), Three Women (Starz), The Proof is Out There (HIST, season 4 opener), Real Time with Bill Maher (HBO, repeat)

(hour 4 - latenight): "Social Studies" (FX, contd), The Graham Norton Show (BBCAm, season 32 opener)

[hypebeast1ife]

COUNTDOWN: TERROR SQUAD x NIKE Air Force 1 Low 'Blackout' Release Date: 2023-09-16

[1991diamondaries]

[bricedavismedia]

Fat Joe Claims Big Pun could write songs in his sleep on the Jay Shetty Podcast.

www.TheBriceDavis.com