Hiphop's Rekindled Independence
May 16th 2009 02:50
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.
They're happy just living it.
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.
They're happy just living it.
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