Gavin
booty bass intellectual
Hah, let me think about it... I don't have a copy of the book (it's OOP).
rap aesthetic
- Thread starter ether
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Hah, let me think about it... I don't have a copy of the book (it's OOP).
Gavin
booty bass intellectual
that was on sum reverse ali-G type shit!im generally bored by new rap. i think its not just hip hop either, most new rap as a whole is just dull (everyone looking at the US as the standard cant help but be affected by whats coming out of there). i love grime but after a while even that gets tiring. rap as a whole has become so limited (this itself is a cliche of course, but only as much as the music i am making such cliched complaints about), and maybe ive just listened to too much hip hop in my lifetime, but i cant really be arsed to give it much time anymore. and most of those youtube samples posted up were crap. i like the dude n nem song a lot but the rappers are just functional at best. great beat/hook though. id like to hear more juke but cant seem to find any of it except for myspace pages. there must be some actual juke music out there to DL/buy/hear, surely? sometimes i think everyone who goes on about how young joc is amazing or commercial rap is so brilliant must just have different expectations/standards or maybe have only started enjoying hip hop around 2002 or something. like all these people going on about the 'new indie revolution' whose interest in the music began with the killers and editors.
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no offense gumdrops, but if you think those african videos are crap you are either out of your mind or have an incredibly closed one.
sick flows coming out of africa that are entirely unique, and developing in directions away from US hiphop. i'm sorrry if you don't recognize this.
sick flows coming out of africa that are entirely unique, and developing in directions away from US hiphop. i'm sorrry if you don't recognize this.
admittedly, i could only get the one where the beat was just aaliyahs try again to play so will investigate the others. i think i actually prefer hearing rap now where i dont know what is being said so all i have to go on is the flow (like with baille funk or reggaeton). i suspect its better that way.
mistersloane
heavy heavy monster sound
N
nomadologist
Guest
That's not fair at all--just because you disagree about an aesthetic matter doesn't mean gumdrops has a "closed mind"...that's a pretty high school thing to say. There are probably tons of people who wouldn't think that is the sickest beat or flow they've ever heard.
no dude. it ain't "jus an aesthetic matter". and it ain't just about "personal taste" neither.
without getting into The Debate all over again, it is sufficient to say that a statement like "rap from all over the world is just copying the US" is factually false. (which gumdrops implicitly made) and that a position which denies that there is a staggering amount of raw and fresh sounds coming out of a million cracks in shit cement the world over is nothing but misinformed.
i've had similar arguments with my US rap fiend friends who say Grime is nothing but an imitation of American hiphop. i don't think many here would disagree that this is a very closed minded thing to say.
without getting into The Debate all over again, it is sufficient to say that a statement like "rap from all over the world is just copying the US" is factually false. (which gumdrops implicitly made) and that a position which denies that there is a staggering amount of raw and fresh sounds coming out of a million cracks in shit cement the world over is nothing but misinformed.
i've had similar arguments with my US rap fiend friends who say Grime is nothing but an imitation of American hiphop. i don't think many here would disagree that this is a very closed minded thing to say.
N
nomadologist
Guest
Yes, aesthetic matters are matters of personal taste in the final analysis--what you may think sounds fresh may sound derivative to someone else.
I didn't see where Gumdrops said world hip-hop is all copying hip-hop from the U.S., but I would say that there has been plenty of cross-polination culturally between hip-hops all over the world: no matter where all music "originated", no matter where hip-hop "originates", at this point formally and technically, hip-hop is a music that has benefitted largely from the cultural phenomenon of the "diaspora", where it draws its aesthetic force and interest from the place where several cultures collide, interact, and converge.
Since we live in a global culture, it is not so far off the mark to say that hip-hop in general is a vital, rhizomatic pop music that shares a root structure that has successfully spread through the entire world. All hip-hop at this point IS influenced by hip-hop from the U.S., the dominant culture in this global one. Talking about a form of music influencing another and claiming that all other hip-hop is "copying" the U.S. are two different things entirely.
Sometimes writing off diverging opinions from your own is a way of being "closed minded"
I didn't see where Gumdrops said world hip-hop is all copying hip-hop from the U.S., but I would say that there has been plenty of cross-polination culturally between hip-hops all over the world: no matter where all music "originated", no matter where hip-hop "originates", at this point formally and technically, hip-hop is a music that has benefitted largely from the cultural phenomenon of the "diaspora", where it draws its aesthetic force and interest from the place where several cultures collide, interact, and converge.
Since we live in a global culture, it is not so far off the mark to say that hip-hop in general is a vital, rhizomatic pop music that shares a root structure that has successfully spread through the entire world. All hip-hop at this point IS influenced by hip-hop from the U.S., the dominant culture in this global one. Talking about a form of music influencing another and claiming that all other hip-hop is "copying" the U.S. are two different things entirely.
Sometimes writing off diverging opinions from your own is a way of being "closed minded"
oh this dude posted up a bunch of dope southern shit he compiled together:
http://twankleandglisten.blogspot.com/
http://twankleandglisten.blogspot.com/
Gavin
booty bass intellectual
Quick stab at Antisocial Surrealism:
Hip hop is critique through both symbolic transgression and exaggeration (often intimately related), increasing the power of the black underclass by becoming a highly visible stylish commodity. Weirding everyday objects -- dying sneakers, wearing gigantic chunky jewelry, etc. -- by taking consumerist logic to the extreme.
It's condemned for its lack of social realism -- not portraying the community in a way the Big Other (white middleclass america) finds acceptable, not depicting real situations in a journalistic way that calls for social amelioration, but exaggerating them for the pleasure they produce, perversely turning these weirded aspects of black underclass life into pleasures (they already were; consider rich whites slumming in jazz clubs in the 1920s for example) and amplifying this effect by an expert use of the commodity form. Instead of begging for pity from the existing order, this tactic destabilizes the entire system which must revolutionize its means of production in order to keep up co-optation. And thus hiphop becomes one of the languages par excellence of late capitalism.
This draws criticism from many corners -- civil rights generation sees it as a rejection of their calls for justice (which it is), nationalists and leftists see it as selling out to capital (which is not wholly the case, though HH has always been complicit with commodity capitalism), and also from reactionaries (for whom the black body represents a kind of primitive authenticity) who can't fathom that rappers might be ironic, exaggerated, sarcastic, playful, etc. but must always represent ESSENTIAL TRUTH.
Hip hop is critique through both symbolic transgression and exaggeration (often intimately related), increasing the power of the black underclass by becoming a highly visible stylish commodity. Weirding everyday objects -- dying sneakers, wearing gigantic chunky jewelry, etc. -- by taking consumerist logic to the extreme.
It's condemned for its lack of social realism -- not portraying the community in a way the Big Other (white middleclass america) finds acceptable, not depicting real situations in a journalistic way that calls for social amelioration, but exaggerating them for the pleasure they produce, perversely turning these weirded aspects of black underclass life into pleasures (they already were; consider rich whites slumming in jazz clubs in the 1920s for example) and amplifying this effect by an expert use of the commodity form. Instead of begging for pity from the existing order, this tactic destabilizes the entire system which must revolutionize its means of production in order to keep up co-optation. And thus hiphop becomes one of the languages par excellence of late capitalism.
This draws criticism from many corners -- civil rights generation sees it as a rejection of their calls for justice (which it is), nationalists and leftists see it as selling out to capital (which is not wholly the case, though HH has always been complicit with commodity capitalism), and also from reactionaries (for whom the black body represents a kind of primitive authenticity) who can't fathom that rappers might be ironic, exaggerated, sarcastic, playful, etc. but must always represent ESSENTIAL TRUTH.