Underground hip hop is an umbrella term for hip hop music outside the general commercial canon.[1][2] It is typically associated with independent artists, signed to independent labels or no label at all.

Underground hip hop is often characterized by socially conscious, positive, or anti-commercial lyrics.[3] However, there is no unifying or universal theme – Allmusic suggests that it "has no sonic signifiers".[2] "The Underground" also refers to the community of musicians, fans and others that support non-commercial, or independent music. Some underground hip hop is also sometimes known as alternative hip hop.

Many artists who are considered "underground" today, were not always so, and may have previously broken the Billboard charts.[4]

Contents

Style [link]

Underground hip-hop encompasses several different styles of music,[2] though it is often politically themed and socially conscious. Numerous acts in the book How to Rap are described as being both underground and politically or socially aware, these include – [5] Little Brother,[6] Brother Ali,[6] Mr. Lif,[7] Murs,[7] Immortal Technique,[7] Binary Star,[8] People Under the Stairs,[9] Lifesavas,[4][10] Zion I.[11]

Underground artists often have high levels of critical acclaim – acts who have been specifically noted as being both underground and having numerous critically acclaimed albums include Jurassic 5,[12] Aesop Rock,[12] Ugly Duckling,[13] Little Brother,[6] Brother Ali,[6] El Da Sensei,[14] Dilated Peoples,[15] Non Phixion,[16] Freestyle Fellowship,[8] Binary Star,[8] Planet Asia,[17] People Under the Stairs,[9] Cannibal Ox[4][9] and Zion I.[11]

Additionally, many underground artists are said to have "intelligent", "intricate", or "complex" lyrics, these include Akir,[13] Ugly Duckling,[13] Brother Ali,[6] Cage,[18] Immortal Technique, El Da Sensei,[14] Blackalicious,[15] Mr. Lif,[7] Andre Nickatina, Murs,[7] Binary Star,[8] Planet Asia,[17] Lifesavas,[10] Sage Francis, Kooley High, Sniped, Tah Phrum Duh Bush, Hustla Dreamz,[4] Zion I,[11] The Even Keel,[19] Y Not Flow, Omega Jackson, All Names Were Taken, Timeless Truth, Yasiin Bey, Talib Kweli and Yak Ballz.

Some underground artists produce music that celebrates the fundamental elements or pillars of hip hop culture, such as People Under the Stairs, Apathy, and Blacastan whose music "recalls hip-hop's golden age".[9]

Mixtapes [link]

Mixtapes are the medium of the underground artist. They are often composed of original material, and are distributed via the internet or in person at one of any number of regional distribution services. Mixtapes depend on word of mouth and hand to hand exchanges for promotion.

History [link]

Early [link]

In hip hop's formative years, the vast majority of the genre was underground music, by definition. Although the Sugarhill Gang gained commercial success in 1979, most artists did not share such prominence until the mid 1980s. Ultramagnetic MCs debut album Critical Beatdown is seen as one of the earliest example of "underground hip hop".[20] It was described that the album was characteristic of what would later be known as "underground hip hop". New York underground rapper Kool Keith received notable success with his album Dr. Octagonecologyst, gaining more attention than any contemporary independent hip hop album "in quite a while".[21]

2000s [link]

Detroit underground hip hop label Reel Life Productions had its highest charting success with the Dayton Family member Bootleg's solo release Hated By Many Loved By Few, which peaked at #174 on the Billboard 200, #6 on Independent Albums, and #38 on Top R&B/Hip-Hop Albums[22] and Esham's Tongues, which peaked at #195 on the Billboard 200, #7 on Independent Albums, #46 on Top R&B/Hip-Hop Albums and #14 on Top Heatseekers.[23] Another Detroit underground label, Psychopathic Records, had its highest success with Insane Clown Posse's albums The Amazing Jeckel Brothers[24] and later Bang! Pow! Boom!,[25] as well as Twiztid's album W.I.C.K.E.D.[26] Binary Star's Masters of the Universe was described as a "refreshing alternative from the mainstream of rap".[27] Tech N9ne and Strange Music achieved their biggest success with the album All 6's and 7's.[28]

See also [link]

References [link]

  1. ^ https://www.stinkzone.com/cgi-bin/archives/000017.html
  2. ^ a b c https://www.allmusic.com/explore/style/d4426
  3. ^ Cheryl L. Keyes (March 2004). Rap Music and Street Consciousness. University of Illinois Press. pp. 336. ISBN 0-252-07201-4. 
  4. ^ a b c d How to Rap, p. 342.
  5. ^ Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 316.
  6. ^ a b c d e How to Rap, p. 317.
  7. ^ a b c d e How to Rap, p. 325.
  8. ^ a b c d How to Rap, p. 326.
  9. ^ a b c d How to Rap, p. 332.
  10. ^ a b How to Rap, p. 333.
  11. ^ a b c How to Rap, p. 334.
  12. ^ a b How to Rap, p. 315.
  13. ^ a b c How to Rap, p. 316.
  14. ^ a b How to Rap, p. 321.
  15. ^ a b How to Rap, p. 322.
  16. ^ How to Rap, p. 323.
  17. ^ a b How to Rap, p. 327.
  18. ^ How to Rap, p. 318.
  19. ^ How to Rap, p. 400.
  20. ^ Price, E “Hip hop culture”, ABC-CLIO, 2006. p.295
  21. ^ Huey, Steve. "Review of Dr. Octagonecologyst". Allmusic. https://www.allmusic.com/album/r235693/review. Retrieved 2009-01-27. 
  22. ^ "Hated By Many Loved By Few Charts". Allmusic. https://www.allmusic.com/album/hated-by-many-loved-by-few-r542684/charts-awards. Retrieved 28 June 2011. 
  23. ^ "Charts & Awards for Tongues". Allmusic. https://www.allmusic.com/album/tongues-r535201/charts-awards. Retrieved 2008-07-19. 
  24. ^ "Insane Clown Posse Makes "Amazing" Top Five Debut". MTV. June 3, 1999. https://www.mtv.com/news/articles/1430318/19990603/i_c_p.jhtml. Retrieved 2008-05-04. 
  25. ^ "Insane Clown Posse Artist Chart History: Albums". Billboard. https://www.allmusic.com/artist/p165873. Retrieved 2010-06-05. 
  26. ^ "Charts and awards for Twiztid". Billboard. https://www.billboard.com/bbcom/retrieve_chart_history.do?model.chartFormatGroupName=Albums&model.vnuArtistId=339534&model.vnuAlbumId=1216457. Retrieved 2009-03-28. 
  27. ^ https://www.allmusic.com/album/r505801
  28. ^ "Tech N9ne's 'All 6's and 7's' debuts No. 4 on Billboard 200". The Boombox. June 15, 2011. https://www.theboombox.com/2011/06/15/tech-n9nes-all-6s-and-7s-debuts-no-4-on-billboard-200/. Retrieved 24 June 2011. 

Further reading [link]

  • Sartwell, C rispin (1998). "Rap Music and the Uses Of Stereotype". Act Like You Know: African-American Autobiography and White Identity. University of Chicago: University Of Chicago Press. ISBN 978-0-226-73527-6. 

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una mejor razón
para perder el tiempo,
me puse a platicarle a la pared
y no encontré
ningún pretexto,
para no hablar, para no ir por ti.
Y siempre me detiene ese canal
y el ruido que hay adentro,
no sé si el corazón está temblando
pero en algún momento
quisiera hablarte,
para decir que no puedo ir.
Después (nada es ahora)
todo es después.
Después de no encontrar
ese lugar en donde no pasa el tiempo
me puse a platicar con la pared
y no encontré
ningún pretexto
para no hablarte,
para no hablar, para no ir por ti.
Después (nada es ahora)
todo es después.
Para no hablar, para no ir por ti.
Después (nada es ahora)
todo es después.
Después (nada es ahora)
todo es después.
Nada es ahora
todo es después
nada es ahora
todo es después.
Y no encontré ningún pretexto.




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