Danny Brown reveals he wasn’t a fan of Dave Chappelle’s “Detroit 2” sketch

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Detroit is known for having some of the most talented lyricists in the world , but it’s not a standalone ecosystem that spins stars like Atlanta, Los Angeles, or even New York. Usually, when it comes to becoming a rap star in Detroit, you have to be discovered by an artist established elsewhere, or leave town and come back once you’ve succeeded . Eminem was discovered by Dr. Dre; Danny Brown flirted with contracts with Roc-A-Fella and G-Unit before taking an alternative independent path with Fool’s Gold Records by DJ A-Trak; Doughboyz Cashout was signed by Young Jeezy, who had personal entries in Detroit.

Big Sean continued this tradition, signing with Kanye West before he even made a name for himself outside Detroit, and tirelessly stringing together mixtapes before securing a release date for his 2011 debut album, Finally Famous . The success of this album allowed him to stay the course and make a name for himself in the US Game. His last project named Detroit 2, in addition to testifying to his talent, allowed a good number of artists to let their talent express itself. Dave Chappelle for example took the opportunity to share with his fans a print sketch in which he talks about Danny Brown who recently made a media release in which it was understood that Dave had distorted the facts .

Danny Brown Says Dave Chappelle’s Print Sketch on Big Sean’s Album Was “Funny” But It’s Not the Real Story

Danny Brown took credit for putting Dave Chappelle high ahead of one of his comeback comedy shows in Detroit, in which he was booed after poorly expressing himself on stage and delivering inaudible punchlines. On Big Sean’s Detroit 2 album, Chappelle tells a story about the tough crowds in Detroit, remembering the time Brown made him extremely high and guessing the rapper might have mixed his weed . He says that while he was in the middle of his “terrible” set, he noticed Danny Brown slipping out of the room, which made him laugh before getting in touch with Big Sean’s father. .

According to Brown, Chappelle’s version is not consistent with the facts . The 40-year-old rapper caught up with HNHH for an exclusive interview where he talks about his reaction to Chappelle’s sketch, saying he found it funny, but it’s not entirely true. “  It was funny, but I don’t like that s ** t, man, ” Brown said. “  Because that’s not the real story [laughs]. I will tell my version in my stand-up show.  Brown made his stand-up debut earlier this year opening act for Hannibal Burress. He said he fell in love with the medium and was now “addicted” to stand-up comedy.

“Detroit 2” a project designed and built on a straightforward basis

With the aquatic opening track, “Why Would I Stop”, Sean immediately answers his own question (“I don’t”) and places himself above the other hip-hop gods . In a direct and clear baritone, against a background of soft strings, “Lucky Me” tells an autobiographical tale about being rich in a world where nothing is free . Here the rapperwas diagnosed with heart disease at the age of 19, but was helped by his mother, magnesium, oriental medicine, and the purchase of Slash’s mansion from Guns N ‘Roses. As the song progresses, his strings swell as if he is surrounded by angels who inflate their wings. His devious raps get more and more breathless and quicker as “Lucky Me” comes to an end, and the only person more breathless than Sean is the listener.

That same muted chorus of angels (or a reasonable, sampled facsimile) floats behind “Harder Than My Demons,” with the gentle zeal of confidence that is Sean’s hallmark of romantic devotion . ”  The best move I do is when you’re by my side, ” he sings in rap. Cucul? Probably. However, one cannot deny the power of love. And if he believes in it, we also believe in it, it is the talent of Big Sean.

Another of Tendre Sean’s great talents is his way of composing songs with dramatic pauses and orchestration that stops and starts again. ”  Everything That’s Missing “, with the much underrated jazz / neo-soul singer Dwele (also from Detroit), follows the duo through colliding percussion, a piano that stops, and an R&B melody. creamy filled with Sean’s cliché axioms. “It’s not the trophy that matters, it’s what it took to get it” and “There is no loss without gain” could pass for the words of a speaker of business if Sean and Dwele didn’t give them more leverage.

Another track, “  Time In  ” with TWENTY88 (which happens to be Sean’s alternative hip-hop duo with Jhené Aiko), is based on a more monochrome melody. The oft-overlooked Aiko is also entitled to another uninspiring song, “Body Language”, but makes the most of her silly, sexist lyrics, like the ones that refer to “pouring champagne on that ass like I ‘was Lady Dash’.

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