bassnation said:its still offensive and patronising. i don't have time for people who like to mock the poor sorry mate.
in fact, the whole old skool rave thing was about as "chav" as it gets, and theres plenty of people from more priveledged backgrounds wanking on about how avant garde it was.
Pearsall said:The paying of dues isn't in and of itself important (fuck, I live 3000 miles away, it doesn't really bother me), I just dislike the fact that (and this is more of a complaint against her record company than her, I guess) she is presented as some kind of central grime figure when people who are, in my opinion, far more talented than her have been slogging away for years with few results like this. I guess if I liked her records my opinion would be different.
Edit: I mean, fuck, consider Sharky Major. A lyrical genius, amazing flow and unsigned.
stevienixed said:Wouldn't it be because labels aren't really concerned with who's *best*. Their main concern is making a profit.
stelfox said:amen to that and i don't necessarily think of her as grime per se, but she's defintely part of the continuum, just as some of the social circles stuff (Donae'O's Bounce, Farmer Yardy etc) was always a bit of a joker in the pack. the thing that makes me laugh is that all this hate is simply as you say coz she got signed. ferfuckssake she got signed to casual records! no one is buying diamond-encrusted hummers and second homes in florida from that!
polz said:Are you sure that when these people who you deem far more deserving actually would have succes, you wouldn't go:"ah, they are commercial/shit now, they were infinitely more better when they were only known by me"?
Exactly, even though Chantelle Fiddy's got a long list of worthy candidates over at her blog. It's not surprising that female MCs are finding and taking alternate routes given that this scene is mainly comprised of a few closed and perpetually warring boys' clubs. It's a hyper macho environment and it's made even less welcoming to women through the constant guns-n-gash talk. I mean, I think it's telling that Sov came to prominence through a track in which she was called a bitch. I don't blame her in the least for exploiting the opportunities that came her way. She's talented and she's getting a chance to do something about it. If the scene gets pissed off about it, then the scene can think a little bit about why things worked out that way.bun-u said:And let’s be honest how many female mcs are making it through the established route of working the pirates through crews – none….where is fury these days?
bun-u said:Ok so Sov jumped on the scene and is now getting some serious exposure.
autonomicforthepeople said:Finally, on the whole, I think grime would do well to stay away from those tropes of authenticity and 'keeping it real' that have been so detrimental to hip hop, jungle, punk, etc. It's a dead end argument typically invoked as a way to impede change and inclusionism.
stelfox said:um... what style mags? where? are there any left?
Ned said:I think one of the underlying assumptions here is that it's somehow part of *what grime is* to be a very confusing, abrasive listening experience which will make the vast majority of people turn off their radios in disgust. As soon as an artist comes along who ignores this criterion and makes music that more people might actually *want* to listen to, people think she's fake/talentless.
bassnation said:its still offensive and patronising. i don't have time for people who like to mock the poor sorry mate.
in fact, the whole old skool rave thing was about as "chav" as it gets, and theres plenty of people from more priveledged backgrounds wanking on about how avant garde it was.