Opening up this album is 2 or three songs about refusing to be a victim, where "my only defence is a burning cigarette." It sets the mood for a blissful winter album that shouldn't be taken lightly, and manages to redefine what 'alternative' means for Australians today.
Bertie Blackman, daughter of artist Charles, has been hovering around the Sydney music scene for a while, living "in my own darkness, with giant birds of prey" and prefering the underground for the fact that "this city's hungry, too hungry for me."
And understandably so.
Having a famous father and becoming a successful singer does not suit her persona of double-edged sensitivity (eg where the perceived rapist finds himself defeated like P!NK turning out the captain of the football team), yet an indiscreet feel for being misused and misled by the society that made her a product of its own misconceptions. This is dealt with with deft determination in statements such as "I know there's something sick with what I've been sold."
The album Secrets and Lies has an abundance of lyrics that are aimed at society in general, yet maintain a personal feel. It should go a long way and stay on our stereos for decades to come, as its relevance is cutting edge - especially on the sexual consent front. Footballer's wives and groupies may be able to grasp at what she's on about, but chances are it will maintain as a staple of the inner city arts scene and anyone with realistic musical idols and aspirations.
The future has arrived, in a neat little package delivered by a seemingly shy artistic type blessed with lungs and a voice that will fill any room.
There have been a few paradigm shifts within the minds and souls of hiphop characters of late. As the current generation of hiphop fans step up to the plate and become hiphop artists, there has become yet another revolution in the hiphop mentality.
It is, in this day and time, a nation divided. With the resurgence in popularity of everything from the 1980's, acts such as Public Enemy and NWA have found a new market in the youth of today. In the meanwhile those of us brought up on a strict musical diet of 90's hiphop have discovered their own sense of elitism over the up and comers of the past ten years.
There is also the mainstream of today, where the 'Dirty South' holds a large stake and New Yorkers are beginning to feel disenfranchised and left out.
And then there is the underground internationale. Those with a belief in conscious fun will tend towards artists often from a choice of two record labels - Stones Throw, and Def Jux. The latter, founded by Company Flow's el-P, seems to focus on sounds for the future without losing the timelessness and permanence of music in general. The former also has an innovative bent yet combines this with the bravado that has been a staple in hiphop since the artists realised just how much sex, cash and drugs were at their disposal.
Then there are the people who focus on local acts, those that can only be found on local radio stations and record shops that support the scene. For Australia, Sydney's Elephant Tracks and Melbourne-based Obese Records have become players on the domestic scene that have international appeal.
Regardless, most hiphop artists in Australia have regular jobs to support themselves. It takes decades of copyrighted releases before any Australian songwriter can make the real claim that they make a living off their music. But thankfully, it does happen.
And its more likely to happen without major label backing than with. Indie hiphop is the new black, yet it is a stark contrast to major label gangsta rap. Sure there's bling and big willy bravado on both sides of the map, but the indie kids of today aren't willing to die for rap.
Oh yes. My mind is still blazin after the EPMD show last Saturday night. These guys would be in their early 40's yet they have more on stage energy than most young guns out these days. The entertainment factor was at a maximum as they wrecked shop with classic after classic, from their 1987 album "Strictly Business" to the present.
These guys had never performed in Australia before, and they knew we had been waiting a long time. I myself had been a never-ever-fronting fan since 1997, when I first got into hiphop and discovered for myself a style of 'underground funk' that crosses borders and prejudices. If you like hiphop music and want your friends to like it to, results will be obtained without the need of mainstream stuff through playing one of their albums for them. I can recommend "Back In Business" from previous experience.
Being from the class of '87, Erick Sermon and PMD are regarded as one of the greats of the golden era (which includes KRS -One, Kool G Rap and Rakim), yet don't consider themselves old school. To quote Erick Sermon in a Def Squad (RE: Erick, Redman and Keith Murray) interview in SLAP Skateboarding magazine a good ten years back:
"We are the hardcore. When hiphop music changes, we will change with it."
And as I witnessed from the raw power that is PMD aka Parrish Smith on stage, P and his crew Hit Squad (Das EFX and K-Solo, as well as numerous recruits since the '90's) is in the same frame of mind.
I left this gig knowing deep in my soul that I would be happy if I never went to another international hiphop gig again. I had just witnessed something timeless being forged into my permanent memory, from their improvised stories between songs to the way they b-boyed around when they were rhyming, to the razor-sharp tightness of the entire set.
Here's a couple of examples floating around youtube:
And one more classic, from 1991, featuring Redman and K-Solo ...back in the days when the rap game started to really show its dark side. Redman absolutely kills it in the last verse, this song for me marked the difference between the 90's and the 80's. Dig it Cib:
Much respect to all old school cats who already knew. Nah mean?
Late night ponderings before sleep have gone unchecked and unwritten too often for me lately. If I went to a doctor today, I would want him to prescribe me inspiration. There's no such thing as writer's block in this creative mind of mine, but the act of turning on the laptop or digging into my screenplay treatments and just DOING IT isn't happening. Why?
Has my recognition lapsed its used by date? I can remember reading in that all empowering weekly inspirer that is the Sydney Morning Herald's 'Spectrum' that a writer will be arrogant and expect to be something more than mediocre until success and recognition kicks in, mellowing the mind. For me, recognition came early but success does not seem as close as it used to
Illicit drugs are especially accessible these days, yet at the same time those that are the most addictive (heroin, methamphetamine) are not especially socially acceptable. Cocaine and marijuana are on the other side of the scale, as to say it would be easy for a person to make a passing comment about the last time they got stoned or share knowledge on the cheapest and most potent coke dealers.
I guess it comes down to what's trendy at the time, but then there is a difference between these socio-stimulation subsets. Heroin and ice provide for alot more antisocial behaviour in their users than pot and coke ever could, mainly because the act of being addicted to them brings about psychotic elements into the users action and thought
Taking time off from Sydney and the busy schedule I have appointed myself this year, the split decision was made to go for a whirlwind trip to Melbourne for a few days to kick back and soak up the atmosphere. For the first time, I have decided to go by myself, hey maybe not even see anyone I know down there. For when it comes to writing, solitude can be aptitude.
Another search for inspiration? Awww yeah I guess you could say that, being that there were intentions to get the ball rolling on yet another full length screenplay - which is the way I think of writing a chapter or two for a novel these days considering nothing much is popping up in terms of film. And yes, there was success
You've got to wonder about people who would drop this line during regular conversation. Admittedly, I am one of them. Its true that it only takes one or two Opinion columns or novel reviews to get the snowball effect, in which ideas begin to flow and creativity - as a refined craft - lets loose as I prepare to wreak havoc on paper.
I know, its shocking. To think of all the truly inspiring writers that have architecturally designed the landscape that is creative non-fiction (anything written that isn't undisputed fact), not one of them would conscientiously make this statement. Taking it back to when the first ever novelists came to be, they would have heard countless oratories and lectures before writing could have ever commenced
It all began when Bob Carr, then NSW Premier, stated he wanted Sydney to become a 'truly international' city. This was around the time of the Sydney 2000 Olympic games.
I've got to admit, times like this nerves can get the better of you. Here, in this Italian coffee shop in the heart of Bondi, I await the arrival of his Holiness. He arrives ten minutes late, with afew Vatican-style security guards in tow, and we all gather around a table close to a gas heater.
I had previously decided to keep things as casual as possible, in an attempt to get a glimpse of his brighter side. Hopefully get him to say, "Please, call me Benedict." Shouldn't be too hard. So why Sydney
Thick socks, leather gloves and a scarf are needed to just get out of bed right now.
The rain is constant, so no chance of getting out and warming up with some exercise. I've been understimulated as hell from not getting my usual coffee fix, hence writing just doesn't seem to be happening right now
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