11/7/2023 0 Comments Hop on pop racist![]() In reality, they were two maladjusted college graduates looking to gratify the insatiable needs of the Internet while inadvertently breathing new life into a dying subculture. They were the brief intermission between their respective economics and literature courses in which their brains could be shut off, despite their mouths’ continued movement. They were a pair of millennial Donald Barthelmes who had inadvertently absorbed a pricey liberal arts education which they passively exuded in puffs of weed smoke and offhand yet informed philosophies light years away from any academically-citable context. Heems) and Victor Vazquez (rap name Kool A.D.) were Das Racist: a whirlwind of multicultural pop culture references swirling around a college dorm room frequented by hallmates possessing a shared interest in loquacious idleness. What began as two smoked-up twentysomethings miscommunicating outside a fast food duplex blossomed into the re-emergence of a briefly forgotten movement which suddenly realized just how seriously it had been taking itself. In contrast with Sage Francis’s personal journal entries slammed over doomsday beats, the rebirth of the underground was led by a duo whose half-conscious hip-hop boasted track titles like “Happy Rappy” and “Rapping 2 U” and choruses marked by grating indecisiveness and a beat lifted from their favorite soap opera. In an unlikely turn of events, 2010 also proved to be the year the seeds were sown for the slow-but-steady re-invigoration of alternative hip-hop for the modern online age courtesy of a pair of mixtapes constructed on the foundation of pure Internet-humor stupidity. There was no longer any legitimate means of distribution for a generation weaned on Tony Hawk’s Pro Skater soundtracks, requiring disciples of Slug and Aes to go big or go pitch their tents at everyone’s favorite payment-optional campground. Like, ever.Īs the country’s core indie hip-hop labels began disbanding, a vacuum formed in the intermediate level of hip-hop’s hierarchy, engulfing the national stage for artists whose fan base lands anywhere between Kanye and Kevin from accounting. recount the hardships of establishing their labels in sometimes-grotesque detail, while a world-weary Murs vows to dedicate the rest of his life to doing nothing. While many of the involved parties in this particular wave of subterranean hip-hop persist in disseminating rhymes, the recent documentary Adult Rappers sheds light on the eclipsed dream of performing outside the limelight, specifically framing the bleak reality of maintaining a creative output while supporting a growing family. Meanwhile, up north, Minnesota’s flourishing Rhymesayers Entertainment collective mourned the loss of mainstay MC Eyedea, who passed away as his East Coast allies were still grieving the untimely death of Camu Tao two years previously. ![]() In the same year, LA’s arty counterpart Anticon slowly began soliciting outsourced contributions after the departure of co-founder Sole. In 2010, El-P’s New York–based Definitive Jux Records closed its doors after ten years of to-be classic hip-hop records by the likes of Aesop Rock, Cannibal Ox, and Company Flow. The waning years of the aughts were a trying time for prominent factions of America’s underground hip-hop scene, which reached an insurmountable peak at the beginning of the decade.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |