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The Top Rap Song of Each Year in the 1990s

by Dominic Petry


Prefatory Note: I would like to take a brief moment to credit Shea Serrano and his “Rap Year Book” for providing the inspiration and idea for this article. 


Part 1: Introduction 


The 90s. An immensely consequential time in the growth and development of music, style, and culture. The influences and impacts of such a decade are immeasurable, reaching the likes of individuals across the globe from the elderly, to even young folk such as myself. It’s almost unheard of that someone has been left bare to the exposure to any considerable amount of the history and effects of the 90s. Some could consider my exposure to the history of the 90s as lackluster, and yet, I have the eyebrows of my aunts and uncles rising when I disclose the music I listen to. Although certainly not new names, I’ve still managed to discover names like Guru, Digable Planets, Big L, Alps Cru, Erykah Badu, The Pharcyde, Queen Latifah, J Dilla, (and many more) simply through the abundance of influence these figures have had on pop culture across decades and generations. 

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Part 2: Quick Discourse


I am an avid listener and enjoyer of what music has been birthed from the 90s, hip-hop music in particular. Furthermore, I will be constructing what I believe to be the most important rap song from each year of the 90s. Some key points I’d like to make before assembling my list: I will be including honorable mentions, and also breaking down those honorable mentions the same way I will be breaking down my top song choice for each year of the '90s. Because I may or may not have angry millennials emailing me for my “atrocious” song choices and song choice breakdowns, this list might come to be rather toilsome, as the elderly might say. Also, if it’s worth mentioning, as I prattle, I will actively listen to each song choice of mine (on repeat) and its subordinate opposition (also on repeat.)

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Part 3: The Treatise of 1990 | “Can I Kick It?” - A Tribe Called Quest


This was one of the more difficult choices on this list. My mind was between “Can I Kick It?” and “Bonita Applebum,” and, with my final decision, I chose “Can I Kick It?” In my experience, “Can I Kick It?” is simply more memorable than “Bonita Applebum” most probably due to the fact that it has more distinguishing bars and a more distinctive beat. Plus, it has one of the catchiest and most iconic phrases of all time, “Can I Kick It? Yes, you can!” Moreover, one of the contestants (“Can I Kick It?”) has a Phife Dawg verse on it, while the other contestant (“Bonita Applebum”) does not. I feel the fact that Phife Dawg has a verse on “Can I Kick It?” is just that much more significant, because it demonstrates that Q-Tip isn’t the only kid on campus with bars. Phife Dawg gains more relevance because of that. With that, “Can I Kick It?” has also had more reach than “Bonita Applebum,” coming out on top as the superior allstar to “Bonita Applebum” as it played a bigger part in the success of A Tribe Called Quest’s 1990 debut record, People’s Instinctive Travels and the Paths of Rhythm. Even 33 years later, “Can I Kick It?” remains Tribe’s most streamed song out of their entire discography. 


Honorable Mention: “Bonita Applebum” - A Tribe Called Quest


Since I’ve already represented most of my key points of why “Bonita Applebum” is an honorable mention, there isn’t much more to be said here. With that being said, people often discuss how “Bonita Applebum” is immensely revolutionary since it was one of, if not the first “proper”  rap-love songs. Or, how I like to describe it, a “No BS rap-love song.” A mellow and upbeat rhythm, simplistic lyrics with a clear message. Although of this, I don’t feel so moved by the particular argument of it being a “revolutionary rap-love song” because whether “Bonita Applebum” became a hit with the ladies or not, Tribe was still inevitably going to become rap-love song pioneers and expand and reconstruct the boundaries of what we consider to be rap. “Bonita Applebum” was more so that first chisel into the Mount Rushmore of rap-love songs that they were constructing. 

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Part 4: The Treatise of 1991 | “Check The Rhime” - A Tribe Called Quest


This is where the emails are going to start flooding in. Hey James! I hope you’re enjoying my article🙂 (James was the first name that popped up when I searched “most popular millennial names”.) I’ve commonly noticed that people occasionally tend to underestimate the significance of A Tribe Called Quest’s existence. They, alongside De La Soul and Nujabes, are the jazz-rap “originals;” they are the founding fathers of the jazz-rap subgenre. Q-Tip is the living blueprint for an extensive portion of modern-day producers and production styles. “Check The Rhime” recaptures that 80s style of spitting, except Tribe had now put it in combination with a super jazzy and funky beat. May I mention that “Scenario” is (probably) the best song on The Low End Theory. Now, if you’re wondering why I didn’t choose that song, keep wondering. I guess because the average attention span is 8.25 seconds and I’ve most likely lost most people at “The 90s, ” and I’m not trying to lose any more readers. 


Honorable Mention: “Mind Playing Tricks On Me” - Geto Boys 


This honorable mention is relatively straightforward. The new phase of rap was in motion, the transition from the late ‘80s to now the early ‘90s is proceeding. Record labels and the commercialization of Gangsta Rap were taking over the industry. On July 9, 1991, Geto Boys released their third studio album, We Can’t Be Stopped. On this record was a particular song, “Mind Playing Tricks On Me.” This song took a step forward in bringing controversial topics to the light, exposing them more blatantly to the public. Lyrics that cover topics such as suicide, drug addiction, violence, etc. And, honestly, “Mind Playing Tricks On Me” arguably is an undisputed pick for ‘91 and it probably should’ve been my top pick, but this is my opinion after all, and my opinion is quite clearly superior. (This phrase was flagged due to a spread of misinformation.) 

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Part 5: The Treatise of 1992 | “They Reminisce Over You (T.R.O.Y.)” - Pete Rock & CL Smooth


Before anybody says anything, I am aware that 1992 was the year of the release of Dr. Dre’s The Chronic. Nonetheless, even though that record was released on my birthday (happy birthday to me), there is not a song on that track list that I believe is entirely deserving of being my top pick for 1992; yes, not even “Nuthin’ But a ‘G’ Thang” featuring the one, the only, Snoop Doggy Dogg. “T.R.O.Y.”, to start, has one of the most iconic and incredible beats OAT (of all time.) The fact that Tom Scott's sample was able to be cleared is one of the most important turning points in all of hip-hop. Aside from this, the importance of “T.R.O.Y.” extends far beyond its utterly spectacular beat. Pete Rock and CL Smooth’s 1992 album Mecca and the Soul Brother features the track “T.R.O.Y.” The album itself was dedicated to the passing of one of the dancers of Heavy D (from Heavy D & The Boyz) whose name was Troy Dixon, AKA Trouble T-Roy. This passing was particularly difficult, especially for the likes of Pete Rock and CL Smooth, who were good friends of T-Roy. May I mention, Mecca and the Soul Brother is a fantastic album that all of you should listen to if you’re at all into boom-bap or jazz-rap. Mecca and the Soul Brother in my humble opinion exemplified the strong jazz flavor in rap that was beginning to grow and expand. The love for brass samples would become evident with legendary classics like “93 ‘Til Infinity” by Souls of Mischief, “8 Iz Enuff” by Big L, and “Peaceland” by Nujabes. 


Honorable Mention: “Jump Around” - House of Pain


I hope every last millennial reading this is crying right now. Please, hold your horses, because, last time I checked, “Nuthin’ But a ‘G’ Thang” hasn’t led to the creation of an endless array of Shawn Kemp and Vince Carter edits on TikTok. Those edits are going in my will, I want every last one of them tattooed on the inside of my eyelids. 

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Part 6: The Treatise of 1993 | “C.R.E.A.M.” - Wu-Tang Clan 


This, again, is very straightforward. It almost feels criminal to start a section with such a statement given the fact that 1993 is one of if not the single most important and productive year of the 90s, but I stand by that opening statement. Legendary rap group, Wu-Tang Clan, released their debut album, Enter The Wu-Tang (36 Chambers). This album would be a legendary record, an absolute classic. For 29 years (30 years tomorrow at the time of writing this), Enter The Wu-Tang (36 Chambers) has stood as a testament to our standards of rap music and beat production, and it will remain that way for another 29 years. Although widely considered overrated, “C.R.E.A.M.” truly is the most important rap song of ‘93. As I had mentioned earlier, this “new phase of rap” was forming, growing, and developing. Strong flavors of jazz were being implemented into tracks and full albums. Piano and brass samples became extremely popular among the best and most polished producers in the game at the time, as well as some of the more low-lying producers. All-time producers such as Q-Tip, RZA, and Havoc were all sampling jazz in the ‘90s. You’ll often hear mentions of jazz musicians like Tom Scott, Herbie Hancock, Barry Harris, Ahmad Jamal, and Quincy Jones during the topic of conversation about those particular producers (Q-Tip, RZA, and Havoc.) “C.R.E.A.M.” helped establish RZA as part of that group of the best and most decorated producers in the game.


Honorable Mention: “Keep Ya Head Up” - Tupac Shakur


In several ways, it almost, for lack of better words, feels weird to be mentioning Pac so early, let alone mentioning him at all for ‘93. There are so many other names, songs, and albums that I could’ve gone with. I could’ve gone with De La, Tribe Called Quest (only if you want), Black Moon, or Queen Latifah (and several others), I mean the list is quite extensive. I went with “Keep Ya Head Up” as my honorable mention not because it was my favorite Tupac song for the longest, but because it’s a beautiful song. “Keep Ya Head Up” is true, raw poetry. You’ll often hear rappers, especially old-school rappers refer to themselves as poets, but when I think of raw, unadulterated poetry in rap, “Keep Ya Head Up” is the very first thing that comes to mind. “Keep Ya Head Up” helped expand the catalog and popularity of conscious hip hop. 

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Part 7: The Treatise of 1994 | “N.Y. State of Mind” - Nas


This is another one of those “heavy hitter” years of rap that occurred during the ‘90s. So much material but at the same time so little to unpack. It’s a constant argument between Nas’s Illmatic and The Notorious B.I.G.’s Ready to Die. Aside from that, if you have a considerable amount of knowledge of old-school rap, you probably understand that there’s not much to be said here. Now, if you’re sitting down reading this (or maybe you’re standing up like a psychopath) wondering, “What the hell is a Nas?” I’ll put it in simple(r) terms for you. Nasir Jones AKA Nas is a legendary rapper who released a particular album in 1994, Illmatic. This album was magnificent in terms of every category, lyrics, production, flow, and everything. The only category I think that could be argued that the album lacks is its emotional conveyance and MAYBE its versatility as well. Aside from that, the album has stood the test of time and is one of if not the greatest rap albums of all time. A lot of people (me AKA Nas fans) talk very highly of Nas and his album Illmatic since about 98% of Nas fans have Nas at the top of every category. Why? We, really, really, really, really like (love) Nas. “N.Y. State of Mind” has been majorly influential, and is (probably) the best song on one of the greatest rap albums of all time, and, because of that, it ended up being my top pick for ‘94.


Honorable Mention: “Juicy” - The Notorious B.I.G.


“Juicy” is much like “Mind Playing Tricks On Me” in the sense that it could be argued to be an undisputed top pick for its year, and probably shouldn’t be an honorable mention. With that being said, even though “Juicy” has been cinematically proven to be one of the greatest car songs of all time, I feel like “N.Y. State of Mind” was just a little more influential than “Juicy.” But who knows, maybe I’m wildly incorrect and am giving somebody a headache right now. For what it’s worth, I read somewhere that a towel and a bottle of water will help with that.

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Part 8: The Treatise of 1995 | “Shook Ones, Part II” - Mobb Deep


For those who noticed the 8 Mile reference, (unless none of you caught it, in that case, womp womp) that was me foreshadowing my top pick being “Jessica” over “Woman to Woman” AKA “Shook Ones, Part II” over “Dear Mama.” Much respect for one of the greatest, most iconic, and most well-known “rap poets” of all time, but, being a typical teenage boy who watched 8 Mile and views it as an artifact of Christ’s second coming, there was no way in hell I was putting “Dear Mama” over “Shook Ones, Part II.” Additionally, if it’s worth mentioning, I can imagine I’m going to have more than one honorable mention for this year. Why? Because I could go on and on and on about how important 1995 was and how much I adore every last track that was released throughout those 365.25 days. The Infamous, Lifestylez Ov Da Poor and Dangerous, Liquid Swords, Do You Want More?!!!??!, Only Built 4 Cuban Linx…, Labcanbincalifornia, it was an abundance of high-quality material during that year. A cluster of some of the most important and influential hip-hop records of all time came out of that year. Yes, “Dear Mama” does have better lyrics, and, is a more emotional and meaningful song by far. It’s (probably) a better piece of overall music and poetry, but it’s not more important than “Shook Ones, Part II.” I wasn’t alive during the '90s, but from what I’ve heard and can realistically imagine, the Herbie Hancock sample in “Shook Ones, Part II” was as some have described “the white whale of the hip-hop community for years.” The use of such a, for lack of a better word, “muted” piano sample, and to stretch and chop it in the way Havoc did with the limited materials he had is immensely iconic in itself. And to think he was honestly considering deleting such a loop. Wild. That sample flip changed TikTok edits and rap movies forever. Normally, I would go on to say how the “Shook Ones, Part II” beat is going in my will alongside all of those Shawn Kemp and Vince Carter edits on TikTok, but there are many other beats I’d rather continue spending my time ranting about on here. 8 Mile is a top-tier movie, go watch it, and listen to some Mobb Deep after all of that. By the way, “Temperature’s Rising” is such an underrated track on their ‘95 album The Infamous, 10/10 would recommend. 


Honorable Mention #1: “Dear Mama” - Tupac Shakur


I feel like I’m about to be gasping for air after reading this one, there’s just so much to be said, and so much ground to cover. Alright, let’s get started, why do I have “Dear Mama” as my first honorable mention? “Dear Mama” is one of the greatest, most important, and most emotional pieces of poetry in all of rap. 


Honorable Mention #2: “Put It On” - Big L


I got a soft spot for this song. It’s just so good. The Punchline King himself, Harlem’s finest. “Put It On.” A classic beat, classic lyrics, and, weird to think about, by far Big L’s most tame song in his entire catalog, aside from maybe “School Dayz.” “Put It On” didn’t have any distinct meaning like “T.R.O.Y.” However, it did have an unequivocal message; that message being that L rhymed better than everybody, freestyled better than everybody, had better punchlines than everybody, and had an unparalleled cadence. The competition had never been higher. Nas has spoken very highly of Big L, and has even said in an interview on Hot 97 Funk Flex “He scared me to death.” Indisputably the biggest “what if” in hip-hop history. Yes, even more so than Big Pun. L’s pen game was nothing short of ill. 


Honorable Mention #3: “Runnin’” - The Pharcyde


I quite honestly have a soft spot even more so for “Runnin’” than I do for “Put It On.” I won’t ever forget watching 8 Mile for what had been my second time at the time and rushing to the Shazam app on my phone like a maniac middle-aged mom who found a scratch on her Acura. I was rushin’ to “Runnin’.” Talking about The Pharcyde and Labcabincalifornia. J Dilla had been producing beats for Pharcyde for a few years. Pharcyde had gotten rid of J-Swift, and Dilla helped Pharcyde with the last of Bizzare Ride II. Labcabincalifornia as a whole helped Dilla gain notoriety because he provided excellent production on a record by a group with considerable relevance. Some of the sample flips on the record were nothing short of genius, and, of course, Dilla’s infamous drums resonated throughout the entirety of the record. 

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Part 9: The Treatise of 1996 | “If I Ruled The World (Imagine That)” - Nas


‘96 is most probably my weakest year in terms of old-school rap knowledge, so bear with me. However, I certainly don’t need to be an old-school rap aficionado to be a big, fat, thick, double-wide, butterball hater of “California Love.” For months, I was unable to escape the love of Cali. “California Love” is my 13th reason why I’m a YouTube shorts convert. Gravitating away from that, let’s talk. First off, the powerhouse duo that Nas and Lauryn Hill created with this song was a force to be reckoned with. Mario and Luigi, MJ and Scottie, Hall and Oates. Lauryn and Nas were truly voices to be heard. An incredibly unique and electric beat, a beautiful chorus from Lauryn of course (I mean c’mon), and impeccable flow, and bars from Nas. When I listen to “If I Ruled The World (Imagine That)” I ascend. I gain immortal strength when I listen to it. The only thing I gain from listening to “California Love” is two more ibuprofen in my system. 


Honorable Mention: “California Love” - Tupac Shakur


Aside from my clowning on “California Love”, and aside from it being overplayed a little (a lot), it still is an important piece of hip-hop history that needs to be covered. Dre had been bumping around for several several years by ‘96, since, he had already released The Chronic in ‘92, so he had already gained his respect and relevance as a big-time producer in the game. The reason I have “California Love” on here and why I presume other people have it in such high regard is because of 2-3 reasons. 1. It’s a very fun, energetic, and mass-appealing song. 2. The meaning. “California Love” is essentially about freedom and love, and that message resonates with many people. Not else much to be said. However, I do have a pro tip: if you ever, and I mean ever put on “California Love” in the car, you immediately lose all privileges to the aux. And if you try to put it on again, I’m reaching over the steering wheel so we both go out like “Stan.”

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Part 10: The Treatise of 1997 | “Can’t Nobody Hold Me Down” - Diddy


That opening statement for 1996 was a complete lie. I know absolute jack about 1997. To be fair, I did sort of, kind of forget about half the records released in ‘96. So, my knowledge of ‘96 in contrast to my knowledge of ‘97 are on two different sides of the line. Now, I certainly couldn’t talk about ‘96 the same way I could prattle about ‘95 or even ‘93, but it isn’t as lacking as I thought it was. Speaking of those records that I forgot about, here are a few examples: The Message, Illadelph Halflife, Beats, Rhymes and Life. Now, the big kahuna, the (not so) grand question. Why did I choose “Can’t Nobody Hold Me Down” as my top pick for ‘97? The unadulterated truth, the beat is one of the most iconic and recognizable beats of all time. As far as I’m aware, there isn’t any distinctive meaning or notable lyrics or historical collaborations I should be taking note of. But, if there are, please, send me angry emails. 


Honorable Mention: “Luchini aka This Is It” - Camp Lo


This is honestly the only other song I am aware of in its ‘97 release that I am familiar with. I say that because I can imagine there’s a plethora of other songs I am familiar with but just am not aware of it being released in ‘97. That being said, that is exactly why Google is your friend. I’m going to just break the awful news to you, this pick is also mainly based on the beat, because (once again) as far as I’m aware, there isn’t any distinctive meaning or notable lyrics or historical collaborations I should be taking note of. It’s just a solid song. It is a great beat, one of the most relevant of its year, which is also part of the reason why it was mentioned. I am just itching to get to ‘99. This might sound sort of paradoxical, but I do miss typing those fat(ter) sections I have for the earlier years. 

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Part 11: The Treatise of 1998 | “Doo Wop (That Thing)” - Ms. Lauryn Hill


This one will prove its difficulty because ‘98 was the year of the Holy Trinity AKA Aquemini, The Miseducation of Lauryn Hill, and Capital Punishment. Some could argue that ‘98 was the year of the Fubar Four and include X’s It’s Dark and Hell Is Hot, or someone could even argue It’s Dark and Hell Is Hot over Capital Punishment. It could honestly go either way. Now, about my song selection, “Doo Wop (That Thing)” although a wonderful song, it’s not my favorite nor the best song on The Miseducation, but I (obviously) believe it to be the most important rap song of ‘98. This selection has to do with several factors: the message, the lyrics, and the flawless blend of genres on the track. The general message of  “Doo Wop (That Thing)” is essentially Lauryn rapping about people she believes to be on the wrong side of the line, and her guiding a healthier, more well-structured, and more well-rounded relationship. Lyrics such as “The second verse is dedicated to the men (men) More concerned with his rims and his Timbs than his women” help to better illustrate the views of Lauryn and that she believes that there’s something wrong with modern-day relationship dynamics, nonetheless, they were never great. Picking up from there, her speaking on such a topic provides a voice that people are going to hear when listening to “Doo Wop.” Within the hip-hop culture, toxic masculinity was very prevalent, and “Doo Wop” made efforts to address this abundant issue by covering the topic with its meaningful lyrics. 


Honorable Mention: “Ruff Ryder’s Anthem” - DMX


I am (not) deeply sorry if some of (or maybe all) the material of my article is naive. If the information I am providing is indeed inaccurate to such a nauseating extent, please, email me. Maybe I’ll rewrite this article in 30 years or so. X is a wonderful, historical talent. But, to put it simply, I don’t believe his “Ruff Ryder’s Anthem” quite stacks up to the works of Ms. Lauryn Hill. “Ruff Ryder’s Anthem” is a historical piece of rap, especially since the widely recognizable track helped X make his way into conversations of up-and-coming rappers in the game of the late ‘90s going into the early 2000s. And, “Doo Wop (That Thing),” didn’t necessarily provide Lauryn this increase in relevance or popularity, I just feel the song itself was more meaningful than “Ruff Ryder’s Anthem.” 

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Part 12: The Treatise of 1999 | “You Got Me” - The Roots


We are officially back in business with my mumbo jumbo about artists' abundant gains of relevance with their genre-shaping song(s.) Things Fall Apart was indeed The Roots’ breakthrough record, and, nonetheless, it was substantially important. The album cover alone is a statement in itself. The general goal of Things Fall Apart was part of the running efforts of trying to steer away from the mass commercialization of Gangsta rap, as well as touching on other topics such as police brutality, hence the album cover. By ‘99, The Roots had been putting out pretty remarkable music that I bump to quite often, but, being one of the only bands in the rap industry at the time, they struggled to gain recognition let alone make their way into any mainstream conversation. Then, Quest Love, one of the band members, alongside several other hip-hop figures, formed a group called the Soulquarians. This group would go on to release several masterpiece records, such as D’Angelo’s Voodoo, Erykah Badu’s Mama’s Gun, Mos Def’s Black on Both Sides as well as several others. Those particular records are just some of my personal favorites by the Soulquarians. I’ve heard people refer to the Soulquarians as the “hip-hop Avengers” and for good reason. You take two all-time producers who influenced an entire generation of music like Q-Tip, and J Dilla, and put them in combination with animating voices like D’Angelo, Erykah Badu, Mos Def, (and several others) and you essentially get a force equivalent in faculty to that of Ultraman. “You Got Me” is more or less a story being told about alleviating the worries of a particular lover whose concerns consisted of being left jilted. Smooth vocals, impeccable production, suave flow, and wordplay, as well as some of my favorite storytelling in rap. The level of poetry on this track is in my humble opinion up there with “Dear Mama.”


Honorable Mention: “My Name Is” - Eminem


This is yet another prominent song of 1999, maybe more prominent than “You Got Me.” Though, certainly more recognizable. There are a few elemental reasons as to why I have “My Name Is” under “You Got Me,” in terms of its importance/relevance. “My Name Is” is, as I mentioned, most definitely more recognizable than “You Got Me.” But, much like Fortnite, Eminem would go on to set a practically unreachable standard with a virtually untouchable prime that lasted for a cool, crisp 3-4 years or so. Or, in Fortnite terms, a cool, crisp 13-17 ish seasons. However, the Fortnite hype died in an empty cage with season X. In essence, my point is that even though Eminem created one of the greatest duos of all time by teaming up with Dre, and also had one of the biggest and most legendary breakthrough records with the Slim Shady LP, a large percentage of that effort and the meaning of what Em got out of it was (arguably) stripped away by 2005. And, it makes sense. 2005 was the same year as the death of Em’s childhood best friend, Proof. As a result, bad habits arose, and then Em went on to release Relapse as well as Recovery just a few years later. The Slim Shady era was officially abated. This could be argued to be in some way similar to the Big L situation. Big L was a generational talent with one of the greatest lyrical abilities we’ve ever had the pleasure of enduring until that talent was cut short when Big L was murdered. Though, there’s one defying difference between Big L’s situation and Eminem’s situation. Both of the ceilings for Em and L were the highest we’ve ever seen, except, one didn’t have the opportunity to test the bounds of that ceiling, while the other did, and fumbled. Or, as we say in chess, blundered. Not to say that Eminem’s prior works were discredited with these (ever so slightly) less inspiring projects, just that the hype and talent surrounding him faded. And, in the words of Lorenzo from A Bronx Tale, “The saddest thing in life is wasted talent.” 


Closing statements


I wanted to once again pay homage to Shea Serrano and his “Rap Year Book” for providing the inspiration and idea for this article. Not to sound cliché, but this article truly was a learning experience to write. I’m beyond grateful I had the opportunity to write this article. For any of you who did indeed have a chance to read any amount of my article, I truly hope you enjoyed it. I recognize and understand that people have their own opinions, of which they are obligated to. Just because I’ve written this lengthy article about what I believe to be the most important song from each year of the ‘90s does not in any sense mean that my selections are “correct.” Please, write an article with selections and reasonings of your own if you want. I greatly encourage all of you to assess my article. I do incorporate a good deal of humor and frivolous statements to add to the humor factor, but, in all seriousness, I only ever want to become more and more educated. So, if you believe any parts or pieces of this article to be inaccurate or simply wrong, please do shoot me an e-mail. I did play around with this article a considerable amount of that wasn’t already obvious. The main purpose of writing this article was for a few different reasons. The first one is that hip-hop is a significant interest of mine. But I also wrote this article in hopes of having others share their wisdom and opinions with me. Additionally, I also wrote this article just for my enjoyment. I enjoy writing significantly. And, in addition to becoming more educated on music, I’d appreciate any words of wisdom or general critiques any of you have. Ultimately, for any of those curious, yes, I do hate millennials. 

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