Public Enemy/

7 Dec

True Hip-Hop has it’s roots in Blues, Jazz, Soul, Funk and other parts of the Afrocentric culture. In particular the cradle of birth is set around the United States although many other countries have a rich history of outstanding artists as well.
This music genre and subculture always had its focus set on revolution, equality and freedom, as did its predecessors.

Today we see much more diversification. The classic Hip-Hop has mostly been consumed by Rap, and it is becoming more difficult to find modern original Hip-Hop artists. In Germany the former Classics such as Eins Zwo, Dynamite Deluxe with Samy Deluxe or the Absolute Beginners have been outdated by newcomers like Cro, The Orsons or Marsimoto. Whether these are even comparable, set aside even sharing the same playground is highly debatable. The upcoming and young are mostly Students with entirely different approaches to life and life’s lessons than its older companions. Therefor the ideals and messages promoted through the music are often divergent. The new era of Hip-Hop has to some degree lost its momentum and has merely become a nice past-time activity for people who think they have something interesting to say.Of course the course of time changes the music as well as it’s listeners. So it can be argued that this development is completely normal. However to some degree the old-school has been lost and surely could use reviving.

Not only has Hip-Hop brought up outstanding musical talent. The aspect of poetry can’t be overheard when listening to tracks from old-school virtuoso Jedi Mind Trick or Cunninlynguists.
Behind every good track lies a message which is spread through true and pure rhyme. In some cases this can be compared to people who actually call themselves Poets. The distinction between acceptable information and mere shit-spitting should of course be done by the audience although deeply entangled in virtual media and social network it is hard to determine whether the listeners are still capable of making this decision.

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