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DOOM'S DAY.(Madvillainy)(Sound Recording Review)

The New Yorker

| April 12, 2004 | Frere-Jones, Sasha | COPYRIGHT 2004 All rights reserved. Reproduced by permission of The Condé Nast Publications Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

In the early nineties, thanks to performers like Dr. Dre and his muse Snoop Doggy Dog, hip-hop became geometrically more popular than it had ever been. In the mid-nineties, multitasking figures like Puff Daddy helped make it a brand. As this happened, hip-hop gained a self-consciousness, as all successful art forms do, and a set of beliefs: hip-hop, sayeth the faithful, is made with two turntables and a microphone; graffiti and break dancing are the appropriate activities if you aren't rapping or d.j.ing. And with Scripture comes orthodoxy: parvenu superstars rapping about guns and women and sampling popular songs are somehow betraying the original ideals; these new ...

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