#Storytelling and Language in Rap

[omegaphilosophia]

The Philosophy of Rap

The philosophy of rap explores the genre of rap music as a form of cultural expression, examining how it reflects and shapes society, identity, power, and resistance. As a genre deeply rooted in marginalized communities, rap raises philosophical questions about authenticity, voice, justice, and the role of art in social change.

Key Concepts in the Philosophy of Rap:

Rap as a Voice for the Marginalized:

Social commentary: Rap music often serves as a platform for the voiceless, providing marginalized communities with a means to express their experiences with inequality, racism, poverty, and injustice. It highlights the struggles of urban life and critiques societal systems of oppression.

Cultural resistance: Rap emerged as a form of cultural resistance, particularly in Black communities in the United States, and has since evolved into a global phenomenon. Its confrontational style is often seen as a form of resistance to mainstream power structures, using lyrical storytelling to challenge dominant narratives.

Authenticity and Identity:

Keeping it real: The idea of authenticity is central to the philosophy of rap. Artists are often judged based on their ability to reflect their true experiences and identity, with the concept of "keeping it real" emphasizing the importance of staying true to oneself and one’s community.

Identity formation: Rap is a means of self-expression, with artists using lyrics to explore personal identity, culture, and experience. Through their art, rappers construct and project identities, whether through braggadocio, vulnerability, or social commentary.

Rap and Language:

Linguistic innovation: Rap is known for its complex, inventive use of language, including wordplay, metaphor, and rhythmic delivery. Philosophically, it pushes the boundaries of traditional language use, challenging ideas about how meaning is constructed and communicated through words.

Flow and rhythm: The philosophy of rap includes the role of flow and rhythm in conveying meaning. The way a rapper delivers lines, syncopates words, and interacts with the beat is as important as the lyrics themselves in shaping the message and impact of the music.

Power, Money, and Fame:

Materialism vs. meaning: Many rap songs explore the tension between material wealth and authenticity. The glorification of money, power, and fame is a common theme, but it’s often juxtaposed with critiques of how capitalism and economic inequality shape personal and collective identities.

Commercialization: As rap became more mainstream, it also became a highly commercialized genre. This raises questions about the relationship between art and commerce, and how commodification affects the authenticity and social impact of the music.

Rap as Storytelling and Narrative:

Lyrical storytelling: Rap is often praised for its ability to tell stories in a powerful, concise, and impactful way. Many rappers use their music to share personal narratives, express collective experiences, or construct fictional worlds that reflect broader social truths.

Oral tradition: Rap can be viewed as a continuation of the African oral tradition, where storytelling, music, and performance are tightly interwoven. It preserves this tradition while also innovating within it, using modern technology and global influence to expand its reach.

Rap and Philosophy of Aesthetics:

The beauty of the raw: Rap’s aesthetic is often defined by its rawness and grittiness, valuing the imperfect, the real, and the harsh realities of life. This raises questions about what constitutes beauty in art—whether art must be polished and refined or whether its power comes from its unfiltered expression.

Innovation in form: Rap challenges traditional notions of musicality, incorporating elements from various genres (jazz, soul, rock, electronic) and experimenting with beat, tempo, and rhythm. This highlights the aesthetic innovation and boundary-pushing nature of the genre.

Rap and Social Change:

Political activism: Many rap artists use their platform for political activism, advocating for social justice, racial equality, and systemic change. Songs like Public Enemy’s "Fight the Power" or Kendrick Lamar’s "Alright" have become anthems for social movements.

Empowerment and agency: Rap often emphasizes themes of self-empowerment, encouraging individuals and communities to take control of their destiny. It challenges systems of oppression and offers a form of cultural resistance, empowering listeners to engage with their circumstances critically.

Rap and Philosophy of Ethics:

Moral ambiguity: Rap sometimes explores morally ambiguous themes, such as crime, violence, and the pursuit of wealth. This can raise philosophical questions about ethics, particularly whether the genre glorifies these actions or if it reflects the harsh realities of systemic oppression.

Responsibility of the artist: There is ongoing debate about the responsibility of rap artists in promoting positive messages versus reflecting the realities of their environment. Some argue that rappers should be more mindful of the influence they have, while others believe that their role is to depict the world as it is.

The philosophy of rap encompasses themes of authenticity, identity, social justice, and the complex relationship between art and commerce. As a genre that speaks truth to power, rap is both a reflection of personal experience and a critique of broader societal structures. Its linguistic creativity, cultural roots, and ability to inspire social change make it a rich subject for philosophical inquiry.

[dasketcherz]

the tomb raider post kinda got me thinking!! what if, as a sort of prologue to vat7k, varian and raps went on an exploration of corona's depths together, yknow just for old times sake!! 🤭 (i kinda imagine this to be a multi-episode ordeal mhm yep 🙂‍↕️)

and thats where they would end up discovering the light trial and/or the deactivated portal to the enternal library?? :0 (if it is the light trial, i like the idea of varian and raps potentially competing it together) they would likely ask xavier if he has any knowledge of this (spolier alert: he does lol)

its this lil adventure with raps that would kickstart varian's journey across the seven kingdoms :)

ohhh!! this is actually a really cool idea!! :0 like how the curiosity started from corona and ends in corona, i fw that a lot!! gotta love a full-circle moment in storytelling <3 like OKAY OKAY YOU GOT MY GEARS TURNING SO!!! HERE WE GO, HERES MY THOUGHTS!

altho, as much as i love the notion of freckled siblings figurine out the light trial together (it's a cute thought for sure), i think varian already solving one of the trials at the very beginning before his journey even starts (or even finding out that his mom was a scientist) kinda kills the momentum of building and hyping up the mystery surrounding what they just found in the depths of corona was (the portal) imo?

(Like I imagine Demanitus must have designed some of the trials in a way that you cant proceed to the next one without the previous totem(s) in hand, like the totems itself becomes an inclusive puzzle piece to solve the other trials and that according to ulla's research the first trial is the fire trial, not the light trial—i think this would elevate how crucial it is to follow the trials step by step to even get to the library)

So instead, I'd personally go for a scene akin to Raps and Varian perhaps needing to clear the underground tunnels of corona for business related reason. Like they initially went down there to re-purpose the tunnels for smth useful again (like this could be the perfect fill-in-the-gaps on how they extended the hot running water system that was located under old corona all the way to the capital to put more context to new dream's voice over in the finale of the show mentioning how corona altogether became the first to have hot running water in the 7 kingdoms) and they just decided to have fun and treat it like an adventure while on the job as queen and royal engineer cuz they are sillies like that.

And amidst of just having fun, thats how they accidentally stumble across an area that, to their surprise, was not familiar to both of them. And Varian can say "Huh...I've retraced our steps around this tunnels before (when he came back down there to fetch the automaton and replicate it during his villain arc behind the scenes, cuz I love subtle callbacks thats naturally brought up in a scene) but I've never come across this area. I didn't even know there was another passage down here."

And it could have totally shared heavy similarities to the structure of the passage beneath the vault from s1

Except it looked far more aged with time than the one from the show and thats how the two figured this is different from the one below the vault.

And has a similar center piece that resembles the one from the show

except it's much wider and bigger with an unassuming decrepit arch (that looked withered out or unfinished/destroyed to freckled sibling's opinion) at the middle surrounded by pillars (thats meant for the gang to place the totems that will power the portal back on after they retrieve all seven of it) Something like this:

And there are letters (similar alphabet from the demanitus scroll) carved in the arch. Knowing this dead ancient language by memory, Varian tries to read what it says and its a cryptic passage that def reads like smth you'd find in a mythology to freckled siblings. Hence them going to Xavier askin about it later on if it rings any bells to him, to which indeed he recognize the passage and tells them it's talking about the legend of the eternal library—but Xavier claims that the legend itself is very vague about how to even get there, the only clear instruction was retrieving the totems.

Plus I like to think Varian needs the blueprint for this portal just like he did in s3 to figure what specific parts he needs to assemble it back into functioning condition because this is Demanitus we're talking about, that man is paranoid af (pretty valid considering the kind of shit he's tampered with during his lifetime) and leave everything he knows in form of riddles and cryptic messages.

And the only other copy in existence of said blueprint—is in Ulla's journal and she had it laid out in the very last spread pages of her book. And that's the moment it finally clicks to Varian what the answer to "where's the entrance and how to find it" question is, "Hold on... I've seen this arch. Wait...oh, OH—OF COURSE! OH IT ALL MAKES SENSE NOW—guys guys!! I know where the portal to the library is!!"

and boom, thats how it comes full circle in my head. thank you for coming to my ted talk (bows)

[fetichesonoro]

Fetiche Sonoro’s Best Albums of 2024

Hey people! Nowadays music albums are an underappreciated art form and we believe that an album is like a photograph of the current creative stage of an artist or band so we are very excited to tell you that these are the five best ones of this year.

Por Cesárea by Dillom

This work serves as a raw and ironic exploration of our most intrusive thoughts. Dylan León Masa, a 23-year-old artist originally from Argentina, has already made his mark across genres like trap, punk, and rap. He is rapidly emerging as one of the most promising talents in Latin American music, and this album has the potential to be the standout concept album of the year. It defies classification, seamlessly blending elements of neo-soul, alternative rock, garage rock, and experimental trap.

Sentir Que No Sabes by Mabe Fratti

Mabe Fratti's rapidly expanding discography welcomes a surprising and approachable addition that stays true to her avant-garde roots. Rich in melody, full of unexpected twists, and undeniably captivating, this work shines. Amid the darkness and melancholy of her cinematic soundscapes, the Guatemalan experimentalist finds a perfectly groovy balance.

Las Letras Ya No Importan by Residente

On Las letras ya no importan, Residente demonstrates that music’s true power lies in its ability to inspire and provoke thought. This album, which feels like a culmination of his legacy, brings together remarkable singles like René and This is Not America, preserving them under one roof. The Puerto Rican artist also showcases his evolution, moving past the era of rap battles and trivial personal feuds to embrace the boundless nature of art, transcending any rigid definition.

Gemelo by Angélica García

This dynamic and multifaceted hybrid-pop record takes listeners on a vivid journey through the many stages and expressions of grief. Angélica Garcia's latest album, a masterful creation from the songwriter and pop visionary, draws its name from the concept of the twin self, the intuitive, inner counterpart within each of us.

Sangre Sucia by Ángeles Toledano

The Andalusian artist makes a striking debut with Sangre Sucia, a powerful album that delves into themes of covens and menstrual blood, celebrating the raw and "impure" facets of life. It pays homage to the blood that marks the journeys of women and even nods to Hermione Granger—dubbed "dirty" as a Muggle-born—creating a fusion of flamenco, alt-pop, and Harry Potter-inspired storytelling. Rooted in tradition, the album incorporates modern language and aesthetics, blending electronic elements with influences from various genres.

[mrsfezziwig]

Confessions of a K-pop Fanfic Reader (part one)

So you are right there, you've heard the first few chords, vocals, rap and beat of a song and after capturing it with Shazam, you read the name of the song except... you can't.... because it's in Hangul; that's K-pop right? And disbelief with disappointment burrows and worms into your psyche. You only listen to English language music as there's no point in hearing something you don't understand, if you wanted something that had lyrics you didn't understand you'd listen to Gregorian chant songs. Still, you feel the need to find the rest of the track but something inside you lurches because K-pop is innocent, childish, nothing but ridiculous Crayon Pop bright colours and T-ARA's "bo-peep, bo-peep, bo-peep, bo..." or the unexpectedly self aware and satirical Gangnam Style (although you haven't necessarily read the translated lyrics yet).

You can't possibly be considering taking the 'genre' seriously? But, those infectious few English lines are stuck in your damn brain and you can't stand the not knowing anymore, so you sneak away to the toilet or claim to be doing some extra work so your discomfort at the possibility of someone seeing and mocking you for it is minimised as much as you can. Hell, you watch porn more openly than this but you still open the Shazam you made a few days or weeks before, knowing you are one click or finger tap away from being completely ridiculed by your friends or family or both for being even willing to consider taking actual time out of your life for K-pop.... But with a deep breath you plunge in, probably with a Stray Kids, BTS or Ateez song and suddenly you are breathless because although you don't understand everything being said, you are completely blown away at the MV quality, which is better than some Western movies in terms of storytelling and editing. Unbeknownst to you the artworks that this small Asian country creates come ready made with the captions in English, plus a few other languages yet it's probably for the best you don't know that because the simple quality of the video takes your breath away.

Wait up though... these people can't possibly be human! How do they all look so fucking good? And how old are they? They look like fresh-faced mid-teens only they can all sing and dance? Oh, but HOLY SHIT CAN THEY RAP-RAP! [Looking at you Rapracha]. It is just impossible that these humans not only exist but most of them dance hardcore choreo whilst singing live too. Nah, nah, nah... it's all bullshit. AI is so fucking good now that these people aren't real.

That's pretty much how discovering K-pop didn't happen for me, an adult old enough to have student debt until I die, who will never own a home because fuck you baby boomers, and finds children to be more like crotch goblins designed to test every last one of the few nerves in my battered self that aren't fucked up by my Ehlers-Danlos Syndrome.

My introduction was truly bizarre; I was married for 20 years - before my husband decided my disability meant he had free reign to fuck anyone who wanted him as I couldn't do it anymore - and my now ex-husband's co-worker had a daughter who wrote fanfics. Now, I was horribly, horribly naïve and rather dumb when I agreed to be a reader, editor and kind of coach for this girl. Not once in my entire life had 'fan fiction' come up in my bubble, I went into the whole endeavour genuinely believing that Seokjin, Yoongi, Hoseok, Namjoon, Jimin, Taehyung and Jungkook were Wattpad characters, not real people.

I thought they were like how Reddit has it's 'marriage counselling' and 'divorce' thing that everyone knows is said on that social media platform, or that Facebook has it's passive aggressive posts bitching about something, the baby daddy/mama drama fueled by said posts, the vague sympathy grabbing status updates and fake news, or X's hate trains. Having never heard of BTS (and by having done no googling beforehand) I went into it as if these weren't real people. To say the writing was atrocious from this teen was an understatement, and I was honest about it, figuring you don't ask someone for feedback if you don't want criticism. If all you wanted was read counts, votes and comments, I could have done that multiple times a day to boost you, which it turns out was pretty much exactly what she was really wanting.

Soon though, I was reading other books from the ones recommended at the end of my current read and it staggered me just how fucking good these books were. Some of them desperately deserve to be published in the conventional way with their highly detailed and provoking writing that I still return to time and time again. However, one glaring detail eventually stood out to me as I lay in a hospital bed with IV antibiotics in one arm and opioid IV in the other, having very, very little of importance to ponder, and one thing that stood out all of a sudden, and I couldn't avoid anymore, was how no one described the characters in terms of look and age; it was as if the writer assumed everyone reading knew what they looked like already...

Now my fucking dumbass was still thinking these were 'Wattpad characters', thus there would be a master document on the app with these details, right? Please bear in mind it had been a year or more that I had been living in the misconception fog thinking these weren't real people at that point, so a master list of characters to choose from simply made sense to me.

Yep, I am kind of stupid for assuming, and yep, I trawled the Wattpad help pages for far too many hours looking for this document or link to one, which admittedly gave me something to focus on as the cocktail of pharmaceuticals made me feel nauseous and also rather high. Am I just too trusting and gullible or can anyone else see my flawed logic here?

As it began to niggle more, seeing the references to South Korea (with the incredibly amusing American way of behaving ascribed to the country that was worlds different to the USA), with Seoul, Busan and Daegu all mentioned my singular lonely brain cell bounced around my skull sparking something off in there. That's when it dawned on me this could be a kpop thing and I finally googled the most common name from the stories, Jungkook, and felt like a bucket of ice water was tipped over my head as I realised that these people were real. Yeah, yikes 😬💀

It distressed me that I had been so blasé as to read these pieces without questioning the similarities. I was even considering becoming a co-writer for the first girl until that moment. Some of this can be explained by my condition during 2018 to 2019, with multiple hospital admissions due to infections or injuries from the Ehler-Danlos Syndrome. One of the infections almost killed me because it was missed for too long and had moved into early stage sepsis. There was no way I could focus on my normal book fare of Charles Dickens and thick, detailed history books and, being truly, truly frank, Wattpad saved my fucking sanity over those two daunting and harrowing years, never demanding more than my mind could handle with all the drugs being pushed into my system.

Plus there were hundreds of thousands of stories to pick from that weren't even Fanfic, about real people or other author's characters. Although I was careful as I was passionately determined to avoid anything that I would consider debauched and invasive, the mature content option was firmly turned off, and the first sign of smut had me gone! A few kisses or implied sexual conduct squeezed through but not full smut. Hello repressed religious trauma!. The amount of stories that were not flagged as Mature Content pissed me off then and pisses me off still.

Once the shock of finding out the truth was easing a little, I decided I needed to actually watch some BTS music videos to try and understand the craziness of it all. What I never expected was just how deep the songs were and are, nor how intellectual the entire industry is because who the fuck else is making music videos based around novels like Demian in the West?

I didn't realise in addition that not only Korean would sneak its way into my brain but that the whole idol industry is interwoven with its own language. This answered many questions I had about the common jargon such as comeback, lore, promotions, era, main, lead, sub, bias, bias wrecker/s, OT#, Big4, ult, PC (photo card), fan meets, Naver, Weverse, V-Live (rip to the GOAT), Chan's Room [*sniff* Baby, you aren't in any trouble, okay? Please just come home, we all miss you and love you, please, please come back!], 1/2/3/4th Gen, and more my messed up brain can't recall so late at night and after the various narcotics that I take to function.

And those narcotics are saying no more today!

So I shall see you in part two!

[thepodcasthoard]

Modern Day Radioplays: Writing a Fiction Podcast - video

This is a video from WriteHive and it's all about how various creators write their own audio dramas and why and how they started.

The panelists are York Campbell, Julie Hoverson, K.A. Statz, Jordan Cobb, Sarah Rhea Werner, and Leslie Gideon, all of whom write or otherwise produce audio dramas.

York Campbell is the writer and host of Poetic Earthlings, which is an original science fiction anthology. Unfortunately, I don't know if this link I found is the right show, but I'll put it here anyway.

Jule Hoverson is the writer/producer of 19 Nocturne Boulevard, an anthology with stories in the supernatural, speculative, and strange.

K.A. Statz is part of Fool and Scholar Productions, an indie audio drama production company.

Jordan Cobb is an actress/writer and the founder of No Such Thing Productions, another indie production company.

Leslie Gideon is a writer and voice actor and created her own audio drama called The Path Down.

Sarah Rhea Werner is a writer and voice actor and creator of Write Now and Girl in Space. She's also the executive producer of Omen, her partner Tim Krause's show.

Patchree Jones- the host of the panel- first question is: How did you get into this line of work?

Jordan first started with listening to audiobooks. She studied acting in New York University and realized that a script she had written for a class would work with a few of her acting friends. After that first show- Here be Dragons- she fell in love with the audio drama production process.

K.A. Statz started because both she and her partner Travis are very creative and are storytellers. This was a hobby they wanted to share, and they discovered that she was good in the writing aspect and Travis was good at production so they played to their strengths.

Sarah started with her nonfiction podcast, Write Now, and tried writing fictional stories to be read out loud.

Leslie listened to Welcome to Night Vale and fell in love with the rabbit hole entrance it was. She saw the potential for stories that weren't as represented in other mediums and explored that.

York started by listening to AM radio stories and when he mentioned to his wife he wanted to start a podcast but wasn't sure of the topic, she suggested that he read some of his fictional stories.

Julie studied screenwriting and was in an old-time radio club. She's an actor who was invited by a friend to audition with her for a podcast. After auditioning and recording with the cast, she used those scripts she had already written to start making fictional podcasts of her own.

Question 2: What are the elements of a fiction podcast that make it different from writing a novel or short story?

Leslie points out that there's no atmospheric or worldbuilding writing- it's all dialog and sound. Because of this, she says, it's incredibly more intimate and character-focused.

Sarah separates the story into: dialog, sound effects, music in the background. But the dialog is the main part, the other two highlight that aspect.

K.A. says that you can't really explore characters by action, but what and how they speak. Language is a huge part of identity and writing for dialog is keeping the art of oral history alive.

York used to write and perform rap so he was more focused on the music and how to play with that aspect.

Julie used her TTRPG background and creating memorable characters as the game master and how to separate those characters just using dialog. Audio drama is (generally) in media res, right in the middle of the story. It doesn't have the slight disconnect of reading words and having it be in past tense.

Jordan says that you're living in the story with the characters. Writing scripts for audio fiction feels more "immediate and lived-in." Her screenwriting background tends to creep in as far as worldbuilding because you're guiding people through your world from their own life and whatever they're doing at the same time as they're listening to the podcast. She says she wants to have the listener "suspend themselves" in the world she creates.

Question 3: Do you feel that certain genres lend themselves more towards this medium more than others?

K.A. says that this medium is open to any kind of story. There are genres that are more difficult- she points out action as an example- but it's doable. It just requires more thought about how to depict it. And with more people coming into the medium, there's eventually going to be someone who brings a new technique in that will prove her wrong and she's looking forward to it. She also says that horror works very well- people tend to create more terrifying things in their mind than K.A. ever could on her own because of K.A.'s work.

Julie says that anything that's ruined by a visual, or a visual that wouldn't live up to the story. She agrees with K.A. and says that horror is good for audio, and action is difficult.

Jordan agrees about horror and adds comedy as a good genre. She compares it to standup comedy because the listener pictures the scenarios in their mind. Also, science fiction and fantasy because to produce it via say, a movie, it would be exorbitantly expensive. Whatever genre you choose, you're taking the audience with you on the journey. A little hand-holding is expected, but as long as you're willing to do that well, it's a journey they'll willingly take.

Sarah offers encouragement to any future creator, no matter what story or genre they're interested in- there's room for everyone in the medium.

York says that in his science fiction anthology, he sometimes goes off-track. And even when he does do that, he says that there's "a golden thread that ties everything together" because it's all told through sound.

Julie says that engaging characters are the key to each genre. If the writing, acting, and characters and their predicaments are good, they will draw the audience in.

Leslie says that any genre that focuses on characters or a certain atmosphere works well in audio dramas. Horror, especially psychological horror, works well. But so does romance because it's characters talking to each other and getting closer.

Question 4: What do you love about writing podcasts?

Julie says that she can do whatever she wants and can be any character she wants with no need for things like makeup or other visual cues.

Sarah says she can connect more to her listeners than she can from purely writing.

Jordan says the audio fiction is the closest way she can get to living in the worlds and have the experiences the characters she creates do.

York says "empathy saves the species." When he creates characters that have experiences he never will, he builds empathy with people who might have those experiences in the real world. He can show more compassion.

K.A. says the effect that her story has on listeners is amazing. There's also an amount of self-reflection that comes with writing, and it's personal without being invasive.

Leslie discovered a freedom in this medium that doesn't quite exist elsewhere.

Question 5: What are the challenges you've faced when writing fiction podcasts?

Leslie says that because of the nature of audio- namely that dialog is king- it's more difficult to create well-rounded characters that aren't what she calls "exposition machines." The world is shown through not only one character speaking, but how that character speaks to other characters.

York says that even though he enjoys the act of writing, it's grueling and takes a while for him. When he can't find "the heart" of the story, AKA the "core element," he doesn't record it. He has to find the human connection.

Jordan says that actually writing- the butt-in-chair method- is the most difficult part. And she also has trouble putting the exact mental image she has into language that other people experience. Getting onto the same page proves difficult at times.

Julie says finishing things is hard. Starting is easy, but finishing is harder. She also wishes she had a dedicated editor because she prefers writing and acting.

K.A. also has problems finishing projects. She's grateful to her partner Travis for sound direction and certain production duties so she can focus on other things. She also points out that a lot of work has to go into building an audience, and she wishes someone could do the promotion.

Sarah says that it's difficult to not burn out when you're making a project. Working around your life can be hard, but when you are burning out, it's sometimes difficult to step back even when it's necessary. Also, she points out that the finished product is not what it takes to make it- a thirty minute episode takes hundreds of hours to make.

Question 6: How do you best promote your podcast?

Jordan cross-promotes with other shows. She has snippets and trailers of hers on other shows, and shouts out other projects from other people when she's enjoying something. Most people listen to multiple podcasts, so you can get people to network and more ears on your work.

Sarah comes from a marketing background. She says creative people often think that marketing is antithetical to what their work is, but she thinks they should learn about marketing if they can. The more you learn, the more effective you are at it.

York says that there is such a thing as creative marketing, that you can bridge that gap. He particularly mentions just for social media episodes and giving an episode for those who don't want to go to another platform to listen to more yet. He also shouts out other shows and projects. Guesting on other projects is helpful, too.

K.A. says doing things adjacent to the podcast is good- she and her partner did Twitch streams about sound design. Also, building a community and having them spread the word for you is a plus.

Leslie says that because the medium is relatively new, the community is very social media focused. It's the best way to get the word out.

Julie points out the fact that even with cross-promotion, the word more or less gets passed around the closed room of audio drama fans, not so much spread further. But marketing, she admits, is very daunting especially when you're wearing so many hats already. But she says to find reality-based podcasts, not just fictional ones, and make connections there. So if you have a horror fiction podcast, reach out to horror movie review podcasts.

Question 7: Do you use sound effects and how do you incorporate them? Do you make them yourself or where do you find them?

K.A. writes them into the scripts at specific points. Her partner, Travis, either finds or makes them himself. While you don't necessarily need sound effects, they are an anchoring point and connection to the real world. You know what a car door sounds like when it's slammed shut and the probably emotion behind it. You can envision the situation.

York didn't at first, but added music and the sound effects later. Don't have them for the sake of them, use them to deepen the listener's understanding of the characters/world.

Julie uses the sound effects to serve the story. She uses the same sound effects- a door opening, for example- over and over. She plays with the sounds and layering them until she liked the result- she likens it to collage.

Jordan doesn't sound design her own projects, but she writes sound effects not just for ambiance but as part of the story. She also says to play with silence as a 'sound effect.'

Leslie thinks it's vital to create a soundscape when creating an audio drama because it adds to worldbuilding.

Sarah does her own sound design and editing and says freesound.org is a great resource.

Question 8: Do you plan the whole season in advance or do you go episode by episode?

Leslie plans out seasons first to make sure the narrative flows well. It also makes production and post production run more smoothly for her.

K.A. plans everything in advance because she "can't abide chaos".

York writes everything, including show notes, in advance.

Jordan plots the season first, then writes episodes in more detail to give herself room to breathe. But everything is done before recording.

Sarah is a self-professed "chaos monster" and has difficulty planning everything, so she writes episode by episode because it works better for her.

Julie writes episodes in her anthology about five or six in a batch, then looks for sound effects, music, and cast members as she works.

Question 9 (final question): What is your advice for future podcasters?

York believes in finding a story you can immerse yourself in, something that has a core of truth and real experience. A story that you're motivated and stoked to write.

K.A. recommends not standing in your own way and try little things at first, just to try and prove to yourself you can do it.

Sarah suggests that you find a friend and support system in the community to not get stuck in your head.

Julie seconds the finding someone in the community, along with finding shows that you enjoy and following them closely. Also, she suggests to write and just write, don't spend forever editing a sentence at a time. Keep moving forward.

Leslie says to listen to as many shows that you can. The best way to learn is to listen to the things people do well.

Jordan says to not let anyone steal your joy. You will start from 0, get one-star reviews, and have people say intentionally cruel and unprompted things about what you've poured everything into. She also says to never read reviews.

I only touched on their answers, I highly recommend watching it in its entirety. It's just over an hour and twenty-six minutes and it's truly jam-packed with information and it's really entertaining.

[gerogerigaogaigar]

Now that we've listened to the cadence of rappers through the interplay between the flow and beats it is time to listen to what rappers are saying. Rap has its own language made up of metaphors and references that can intimidate new listeners, but there is one skill that should be easy for anyone to appreciate. Storytelling. These songs are some of the best storytelling that hip-hop has to offer. And Storytelling is one of rap's strong suits so really this is some of the best storytelling that music has to offer!

The Art Of Peer Pressure Kendrick is why were here right? Well he is probably the best lyricist in rap history. The Art Of Peer Pressure may not be his biggest hit but it is unparalleled in terms of storytelling. Kendrick describes a night as a teen in Compton. Him and his friends emulating the violence heard on their favorite rap albums. The story seems simple, but the message is complex. He disavows every action he engages in saying that he's normally sober, normally peaceful, but he's with the homies right now. As the title suggests its a story about how peer pressure helps reproduce systems of violence.

Children's Story Slick Rick is the storyteller of all time. It honestly baffles me how naturally he communicates this simple fable without missing a beat. It flows so casually that you actually forget that he's maintaining rhyme throughout.

Gold Simple fables about street violence are extremely common in hip-hop. This one builds bravado and avarice until the tragic ending where the singer buries his mother before he can use all the money he's attained on her.

I Left My Wallet In El Segundo And now for the lowest stakes in any rap story. This is the gripping story of Q-Tip trying to remember where he left his wallet. The energy of a couple of friends trying to retrace their steps is actually really relatable though.

It Was A Good Day I've seen people on here try to use the details of this song's lyrics to pinpoint the exact date Cube was talking about. It's a simple song, but the simplicity belies some depth. It's pretty telling that to Ice Cube playing basketball and dominoes with his friends is on the same level as not getting harassed by the police or shot.

Millie Pulled A Pistol On Santa De La Soul decided to ditch the fun and games on Millie Pulled A Pistol On Santa. seriously content warning for frank discussion of csa. The tense story of a girl who is brought to the point of desperation because no one will believe that she is being abused. Its dark stuff and extremely well told.

Neighbors J. Cole dodged a bullet when he decided not to actually beef with Kendrick. Which is good cause I actually like Cole's music. Neighbors is about J. Cole tried to move into a nice house in a white neighborhood and got harassed until he was forced to leave. He meditates on the fact that fame can't actually stop the baked in racism at the heart of America.

Hey Mama If you want to know why fans are mourning Kanye or even hoping for him to get better instead of just dropping him like a rock look no further than Hey Mama. This ode to his mother is the sweetest song ever made. I'm kinda glad Donda West didn't have to see what her son turned into.

Just A Friend Biz Markie is the clown prince of hip-hop. his flow is goofy, the beat is kinda wonky, and the story is simple. And then he just kinda yells the hook like he's half drunk. It is either gonna charm you right away or annoy you. Just A Friend is the kind of stupid that I always fall in love with and it's enduring popularity is proof that others feel the same.

Fat Cats, Bigga Fish The Coup are the group that would eventually make the film Sorry To Bother You. Fat Cats, Bigga Fish is a deftly told story whose moral is "stealing is only illegal if you aren't rich"

To Be Continued ===> Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6

[callmekaman]

BAATCHEET By:- Kaman

This track is a storytelling song that resonates with the raw emotion of a son to his father, Kaman crafts a message in the song so beautifully that every young boy could resonate with the lyrics.

Language :- Hindi/Urdu

Genre:- Rap/Hip-hop

Country:- India

Also Available On:- All Streaming Platforms

[rantsofamadam]

Ballet Thoughts

I just came from seeing The Nutcracker Ballet at a local theatre. It wasn’t the most high quality or professional theatre, but it was beautiful and the dancing was incredible.

Don’t get me wrong, I can’t dance for my life and don’t know many logistics when it comes to dance, but I ADORE watching it. Specifically ballet, rap and contemporary. (I adore all live performance art really, so much so I want to make the artistic and technical aspects of it my profession)

Ballet, from a viewers perspective, seems to be all about:

Symmetry, repetition, and a focal point.

And it flows so well.

I think ballet and dance is incredibly beautiful. The fact we have bodies and made art out of simply moving them.

Learning the limits of our bodies, that moving them gracefully or to music can be perceived as beautiful and something active to do. It’s- incredible. It’s beautiful. The fact we humans created the concept of dance for pure joy and entertainment is beautiful.

I also LOVE non-verbal storytelling.

Telling a story with pure movement, facial expressions, just music and sounds so it can be told in any language is incredible. And really puts the art of storytelling to the test with nothing verbal.

Ugh. Gorgeous.

Another thing I love about ballet is the juxtaposition of extremely graceful and beautiful dancers on pointe with blistering, bleeding feet in pain. Because from what I’ve heard and what it looks like- being on pointe is painfulll. But they look so graceful and beautiful. And I love that- beauty, fragility on the outside but tough as hell and painful otherwise.

Man art is so cool.

[latishabonnet]

Meet Indian Rapper Hanumankind, Whose “Big Dawgs” Music Video Has Taken the Internet by Storm

The Indian rap scene has been gaining significant momentum, with a new wave of talented artists pushing the boundaries of the genre. Among these rising stars is Hanumankind, a rapper whose music video for “Big Dawgs” has recently taken the internet by storm.

The Emergence of Hanumankind

Hanumankind, born Sooraj Cherukat, hails from Bangalore and has been a prominent figure in the Indian hip-hop scene for several years. Known for his compelling lyrics and unique style, Hanumankind blends traditional Indian music with contemporary hip-hop, creating a sound that is both fresh and deeply rooted in his cultural heritage.

His stage name is a fusion of ‘Hanuman,’ the revered monkey god from Hindu mythology, and ‘kind,’ reflecting his commitment to positivity and kindness.

The Breakthrough: “Big Dawgs”

The music video for “Big Dawgs” marks a significant milestone in Hanumankind’s career. Released just a few weeks ago, the video has quickly garnered millions of views across various social media platforms, earning widespread acclaim from fans and critics alike. “Big Dawgs” showcases Hanumankind’s lyrical dexterity and his ability to deliver powerful messages through his music.

The track features a hard-hitting beat and incisive lyrics that explore themes of dominance, power, and resilience. The accompanying music video is a visual treat, featuring stunning cinematography and creative storytelling that perfectly complements the song’s intensity. Directed by a talented team of filmmakers, the video has been praised for its high production value and innovative approach.

The Impact of “Big Dawgs”

“Big Dawgs” has resonated with audiences not just in India, but globally. Its success highlights the growing influence of Indian hip-hop on the world stage and showcases Hanumankind’s potential as an international artist. The song’s catchy hook and powerful message have made it an anthem for many, further solidifying Hanumankind’s position as a leading voice in the genre.

The viral success of “Big Dawgs” has also brought attention to the broader Indian hip-hop community, shining a spotlight on the rich talent and creativity emerging from the country. Hanumankind’s rise is a testament to the global appeal of Indian music and the universal language of hip-hop.

What Sets Hanumankind Apart

Hanumankind’s music stands out for its authenticity and depth. His lyrics often delve into personal experiences, societal issues, and philosophical reflections, offering listeners a rich and thought-provoking experience. His ability to seamlessly blend traditional Indian sounds with modern hip-hop beats creates a unique and captivating soundscape.

Hanumankind’s influences range from Indian classical music to Western hip-hop icons like Kendrick Lamar and J. Cole. This diverse range of inspirations is evident in his music, which often features intricate wordplay, profound themes, and a strong narrative voice. His respect for Indian culture and mythology is also a recurring motif in his work, adding layers of meaning to his songs.

Challenges and Triumphs

Despite his growing success, Hanumankind’s journey has not been without challenges. The Indian music industry has traditionally been dominated by Bollywood, making it difficult for independent artists to gain recognition. However, Hanumankind’s perseverance and dedication have paid off, earning him a loyal fanbase and critical acclaim.

His success with “Big Dawgs” is a significant triumph, proving that independent artists can break through barriers and achieve mainstream success. Hanumankind’s story is an inspiring example of what can be accomplished with talent, hard work, and a relentless pursuit of one’s passion.

Future Prospects

With the success of “Big Dawgs,” Hanumankind is poised for even greater achievements. He continues to work on new music, collaborating with both Indian and international artists to push the boundaries of his sound. His upcoming projects promise to further elevate Indian hip-hop and introduce it to new audiences worldwide.

Hanumankind is also actively involved in various social initiatives, using his platform to raise awareness about important issues such as mental health, social justice, and environmental conservation. His commitment to making a positive impact through his art is a key aspect of his appeal, resonating with fans around the world.

Conclusion

Hanumankind’s journey from a passionate young artist to a viral sensation is a story of talent, authenticity, and resilience. His music, marked by its unique blend of cultural influences and powerful messages, has left an indelible mark on the Indian hip-hop scene. As he continues to rise, Hanumankind remains a beacon of inspiration for aspiring artists, proving that with perseverance and dedication, one can achieve greatness.

The viral success of “Big Dawgs” is just the beginning of what promises to be a remarkable career. As Hanumankind continues to create and innovate, the world eagerly awaits what this talented rapper will bring to the table next. In a rapidly evolving music landscape, Hanumankind is undoubtedly a force to be reckoned with, and his journey is a testament to the transformative power of music.

(Facebook)

[doruk-alp08]

Part #1

'90s

Exploring the Legends of Rap/Hip-hop

Rap music has been a dominant force in the music industry for decades, with its rhythmic beats and powerful lyrics. In each decade, there are artists within the genre who have achieved immense popularity. They have also left an indelible mark on the cultural landscape which separates them from other artists. In this blog post, we're going to delve into the lives and careers of three of rap's most iconic artists from each decade starting from the '80s all the way to the '10s.

Nas: The Poet of Queensbridge

Nasir Jones, better known as Nas, emerged from the Queensbridge housing projects in New York City to become one of the most revered lyricists in hip-hop history. His 1994 debut album, Illmatic, is widely considered to be one of the greatest rap albums of all time. With its vivid storytelling and introspective themes, Illmatic captured the realities of hood life. It solidified Nas' reputation as a master of the language.

Throughout his career, Nas has pushed rap's boundaries, tackling social issues, politics and personal struggles with unparalleled depth and insight. From tracks like "The Message" to "N.Y. State of Mind" to "One Mic," Nas' catalogue is a testament to his storytelling ability and lyrical dexterity. Nas remains a pillar of the hip-hop community with multiple Grammy nominations and a loyal fan base that spans generations.

Ice Cube: From N.W.A to Hollywood

Ice Cube became famous as a member of the pioneering rap group N.W.A. The razor-sharp wit and unapologetic social commentary of N.W.A. and their landmark album "Straight Outta Compton" helped establish gangsta rap as a mainstream culture.

Cementing his status as one of the genre's most influential figures, Ice Cube continued to make waves with albums like Death Certificate and The Predator after leaving N.W.A. to pursue a solo career. But Ice Cube didn't stop there. He made a successful transition into acting, starring in iconic films such as Boyz n the Hood, Friday and Barbershop. These films showcased his versatility as an artist.

Today, as he continues to inspire new generations with his unapologetic authenticity and uncompromising vision, Ice Cube's impact on both music and film is undeniable.

Jay-Z: The Blueprint of Success

A true mogul of the rap game is Shawn Carter, better known as Jay-Z. From his humble beginnings in Brooklyn's Marcy Projects to his status as one of the world's richest musicians, Jay-Z's journey is remarkable. As both an artist and a savvy businessman, Jay-Z has redefined the rap industry in a career spanning more than three decades.

With classic albums such as 'Reasonable Doubt', 'The Blueprint' and 'The Black Album', Jay-Z has cemented his place as one of the greatest rappers of all time. His smooth delivery, clever wordplay, and entrepreneurial spirit have made him critically acclaimed and revered. Outside of music, Jay-Z' forays into fashion, sports management and streaming services have solidified his status as a cultural icon and business influencer.

To conclude, Nas, Ice Cube and Jay-Z are not only rap artists, they are cultural icons who have shaped the landscape of music and entertainment. Their contributions to the field cannot be overstated, and their legacy will continue to be felt by future generations of artists.

[bookoramaenderteeth]

Eithet songs or genders for the top 5 thing. I couldnt choose which one to ask you

(In retrospect I don't know why I did the ask game, I'm so bad at picking favorites) If I HAVE to choose five songs, and specifically selecting them so each fits a different niche/genre/space in my brain: 5. Rainbow Connection, by Kermit the Frog. I'm a big fan of the Muppets in general, and this song specifically is partially why. It's sincere, it's deep, and it feels like I can't listen to it without being filled with a sense of wonder, at the world and all its contents. When I listen to this song, the Muppets make perfect sense, with all the frogs and bears and chickens and whatever. They're part of the rainbow connection.

4. Talk About Bones, by Seeming. My boyfriend got me into Seeming. The first time I listened to their album Sol with him was the first time we met in person. We lay in the dark, listening to the whole thing together without speaking, ending with this. The whole album could honestly be on this list, I can't think of one song without thinking about how it flows perfectly from the rest. I can't recommend this album highly enough. It's not music - it's an experience. Dim the lights, listen closely, and open yourself to being banished.

3. Hopes and Dreams, by Toby Fox. Look, anyone who's known me for a while would know there was going to be an Undertale song on this list. Hopes and Dreams is the climax of one of the best storytelling experiences of my life. It ties it all up in a neat little bow, motifs bringing back character moments long forgotten in what feels like both a deadly boss battle and a tear jerking farewell to a world you invested your thoughts and emotions into. Or in my case, less a 'farewell' and more an 'Au revoir', since I will inevitably get sucked back into the game or fandom at some point (over 100 hours of it played on Steam, and at least five Youtube playthroughs watched in full).

2. Natsuki vs. Raven, by Freshy Kanal. Look. I know. This is not what most people would think of when asked to list their favorite songs. But I have a theory, as an English Literature student, that rap battles are the epitome of literature and stories in general:

Stories are based on conflict, and a rap battle is conflict distilled. Two or more characters enter the story, fight for the audience's amusement, and then the story ends, leaving the audience to determine the victor.

All literature and storytelling function based on the context it's in; to maximize the effectiveness of a story you need to understand the allusions and references of the time and make proper use of them. Rap battles are full of references, to pop culture, history, character backgrounds, etc.

Storytelling is all about language. Rap battles make incredible use of language, with intricate wordplay and double or triple meanings.

Also this one just has really good lyrics and an absolute boppin' beat.

Honorable Mentions: - Songs from the Hatchetfield musicals. Extremely good music, very good plays. - Homestuck music. Fell under the same umbrella as the Undertale song, so didn't look for specific ones. - This one song I made up as a kid called Hot Green Bananas. It is terrible. I'm using it for the theme song of the show I dream of making someday. 1. I'm Me, by Vanessa Doofenshmirtz. I dare you to listen to this song and tell me it doesn't deserve the number 1 spot. Pure self-actualization, distilled into a series of metaphors. I still listen to this one if I need a pick-me-up in the confidence department.

[rap-bull]

WHAT IS RAP?

Introduction

Rap, a musical genre deeply embedded in the roots of urban culture, has evolved into a global phenomenon that transcends boundaries and speaks to diverse audiences. In this article, we delve into the origins, characteristics, and impact of rap, exploring its journey from the streets to the mainstream.

Evolution of Rap

Early Origins

Rap's origins can be traced back to the Bronx in the 1970s, where block parties became the breeding ground for this expressive form of music. Influenced by African and Caribbean rhythmic traditions, rap quickly became a powerful medium for storytelling.

Influential Figures

Pioneers like Grandmaster Flash and Afrika Bambaataa laid the foundation for rap's growth. Over the decades, iconic figures such as Tupac Shakur and Notorious B.I.G. shaped the landscape, while diverse subgenres emerged, from gangsta rap to conscious hip-hop.

Characteristics of Rap

Lyricism

At the core of rap lies the art of lyricism, where artists weave intricate verses laden with meaning. From social commentary to personal narratives, rap lyrics are a reflection of the artist's experiences and observations.

Beats and Instrumentals

The marriage of powerful beats and creative instrumentals is another hallmark of rap. Producers play a pivotal role in shaping the sonic landscape, providing a canvas for artists to paint their lyrical portraits.

Flow and Delivery

A rapper's flow, the rhythmic pattern of their delivery, is a distinctive aspect of the genre. Whether it's a rapid-fire delivery or a laid-back cadence, a rapper's unique flow contributes to their individual style.

Impact of Rap on Culture

Social Commentary

Rap has often served as a voice for the voiceless, addressing societal issues and advocating for change. From N.W.A.'s critique of police brutality to Kendrick Lamar's introspective narratives, rap has been a powerful tool for social commentary.

Fashion and Lifestyle

The influence of rap extends beyond music to fashion and lifestyle. From baggy pants and gold chains to high-end designer labels, rap artists set trends that permeate mainstream culture.

Global Influence

What started in the Bronx now resonates globally. Rap has become a cultural bridge, transcending language barriers and connecting people from diverse backgrounds.

Common Misconceptions

Stereotypes

Rap often grapples with stereotypes that portray it as a glorification of violence or materialism. In reality, rap is a diverse genre that explores a wide range of themes, including resilience, love, and social justice.

Cultural Appropriation

Critics argue that rap has faced issues of cultural appropriation, particularly when artists from outside the African-American community adopt the style. However, many artists see this as a form of cultural exchange that enriches the genre.

Positive Aspects

Amidst controversies, it's essential to recognize rap's positive contributions, such as providing a platform for marginalized voices and fostering cultural understanding.

Key Elements of a Successful Rap Song

Storytelling

A compelling narrative lies at the heart of many successful rap songs. Whether it's recounting personal struggles or painting vivid pictures of urban life, storytelling is a skill revered in the rap community.

Rhyme Schemes

The intricate web of rhyme schemes distinguishes rap from other genres. The ability to weave words seamlessly, creating patterns that captivate listeners, is a hallmark of a skilled rapper.

Authenticity

Authenticity is prized in the rap world. Audiences connect with artists who stay true to themselves, and the most impactful rap often emerges from genuine experiences.

Influential Rap Artists

Pioneers

Grandmaster Flash, Run-D.M.C., and LL Cool J laid the groundwork, shaping rap's early landscape. These pioneers set the stage for the genre's exponential growth.

Contemporary Icons

In the contemporary scene, artists like Jay-Z, Eminem, and Kendrick Lamar have become household names, each contributing to rap's evolution in unique ways.

Diversity in the Industry

Rap is a melting pot of voices, with artists representing various backgrounds, genders, and cultures. Diversity continues to be a driving force in pushing the genre's boundaries.

Rap as an Art Form

Poetry Connection

Rap is often likened to poetry, with its rhythmic and rhyming elements. This connection highlights the artistic depth of rap, positioning it as a form of modern-day poetry.

Visual Representation

The visual aspect of rap, showcased through music videos and performances, adds another layer to the art form. The visual representation often complements and enhances the message conveyed in the lyrics.

Freestyle and Improvisation

The ability to freestyle, creating spontaneous verses on the spot, is a celebrated skill in the rap community. It showcases a rapper's quick thinking and creativity.

Controversies Surrounding Rap

Explicit Content

Rap has faced criticism for explicit content, including explicit language and themes. While some argue for artistic freedom, others question the impact on younger audiences.

Censorship

The debate over censorship in rap brings to light questions about freedom of expression versus the responsibility to protect audiences, particularly minors, from potentially offensive content.

[xeter-group]

Just some thoughts about my experience with arts and humanities

Something I realised recently is that like...my high school self had no sense of anything outside stem. Like I could not comprehend any kind of art.

Like I would look at a painting and just be like...ok thats a depiction of something. So what. If it was abstract I'd just sort of look at it and be like ????

I would look at dancing and be like...huh I guess they really are moving around. I remember being so confused why people danced.

I would hear music and just not really pay attention, or when I did it was at most because I found the lyrics funny or catchy. I didn't really listen to music in high school, or dance. I knew a load of epic rap battles of history though. I certainly didn't appreciate music at all.

When I read fiction as a young child it was mainly plot related. Which sure, is a valid and normal kind of thing to enjoy, but I don't know if I'd call it "art" as much as generally "culture". I didn't love any storytelling techniques or anything or read into meanings. I didn't love certain characters or anything.

When I was forced to read and analyse books and plays for a while I literally thought counting your analytical devices was the purpose. And at another point I thought that nobody could REALLY believe what we had to write. It was just made up stuff, or at best just using language devices for fun while explicitly saying something. Why people used language devices was kind of foreign to me, but I knew I got points for identifying them.

I didn't really watch movies or anything either.

I understood geography and history somewhat well as a type of science, or at least an inquiry into how reality works if you think its not science. And I understood things like economic politics from a similar lens. But I think there is a significant difference here between what I mentioned before.

And yes, you don't need to be able to analyse and write essays about a thing for it to be art but I wasn't feeling anything at all. Which is just...confusing to me? How did this happen? Because now I listen to music because I enjoy it. I watch TV shows when I have time. I'm super into reading about philosophy, politics, and economics. I dance to my music when I'm at home and can feel some sense of satisfaction watching dancing. I still don't really get visual art but whatever. How did I go my entire childhood not understanding art? Was someone meant to tell me or do you guys just figure it out on your own? I feel behind now when I listen to people gush about certain lines or characterisations of people and I'm just like ???? oh I guess now you point it out I see it. Huh.

This vaguely reminds me of how I basically didn't care about people as friends for all of primary school. I had 'friends' but it was more of 'oh lets do stuff with these people' and not like 'i care about this person as a person'. At the end I remember just being like "yep ok don't need to see them again, bye..". Only in high school did I start to care about people as humans and want to spend time with them and know them and care about them.

I don't know if this is some kind of developmental delay or something. At least it did wonders for the stem part of my brain because I basically never had to try hard to understand any stem subject. I instead focused all of my trying into improve test performance, which i fucking DESPISE. what a waste of my life. At least at the end I started teaching myself chemistry at a pace I enjoyed.

[checkthreetimes]

Hip-Hop: The Most Listened To Genre And Its Subgenres

Hip-hop is a cultural movement that emerged in the late 1970s in the Bronx, New York. It encompasses various elements such as rap, DJing, breakdancing, and graffiti art. Hip-hop music is characterized by rhythmic spoken words accompanied by beats, samples, and scratching. It's a music genre, a lifestyle, a language, and a way of expression. It has influenced many aspects of pop culture, such as fashion, film, television, sports, and politics. Hip-hop has also spawned many subgenres and styles over the years, reflecting its artists' and fans' diversity and creativity.

Popularity Around the World

Hip-hop is the most popular music genre in the United States and the United Kingdom. In 2021, hip-hop accounted for 27.64% of all music consumption in the U.S., measured by equivalent album units. It also dominated the on-demand streaming market, with 29.39% of all streams coming from this genre.

Hip-hop is also popular in other parts of the world, such as Canada, France, Germany, Japan and South Korea. According to Spotify, hip-hop is the most listened-to genre globally, with over 9 billion streams per month. Some of the most popular hip-hop artists worldwide include Drake, Eminem, Kanye West, Jay-Z and Kendrick Lamar.

Subgenres and Styles

Hip-hop has grown and changed over the past five decades. It encompasses a variety of styles and influences, some of which have become mainstream and some of which have remained underground. This article will explore some of the major subgenres and styles of hip-hop music.

Old-school hip-hop

Hip-hop music traces its roots back to the late 1970s and early 1980s, with its earliest form featuring basic drum beats, turntablism, and MCing. Notable pioneers of old-school hip-hop include Grandmaster Flash, Afrika Bambaataa, Kurtis Blow, and Run-DMC.

New-school hip-hop

The second wave of hip-hop music, known as the new-school hip-hop movement, surfaced in the mid-1980s and continued until the early 1990s. It brought forth a diverse and intricate collection of beats, lyrical styles, and influences from different musical genres, such as jazz, rock, and funk. The trailblazers of this genre include LL Cool J, Public Enemy, Beastie Boys, and N.W.A.

Golden age hip-hop

The late 1980s to early 1990s marked the golden age of hip-hop, a time when artistic quality and innovation flourished in the genre. This era showcased a range of sounds, themes, and techniques from various regions and subcultures, featuring legends such as Rakim, Big Daddy Kane, KRS-One, De La Soul, and A Tribe Called Quest.

Gangsta rap

During the late 1980s and early 1990s, a subgenre of hip-hop emerged, which dealt with themes like crime, violence, drugs, and social issues. This form of music was heavily influenced by the everyday struggles of people living in inner-city neighborhoods and often attracted controversy and criticism. Gangsta rap was pioneered by artists such as Ice-T, N.W.A., Snoop Dogg, and Tupac Shakur.

Alternative hip-hop

Alternative hip-hop is a subgenre that originated in the late 1980s and early 1990s. It aimed to challenge the traditional norms and conventions of mainstream hip-hop music by integrating elements from other genres like rock, jazz, soul, and folk. Some of the pioneers of this genre are De La Soul, A Tribe Called Quest, The Roots, and Outkast.

East Coast hip-hop

A regional style of hip-hop that originated in New York City and its surrounding areas. It is characterized by complex lyrics, storytelling skills, and sample-based production. Some of the icons of East Coast hip-hop include Nas, The Notorious B.I.G., Wu-Tang Clan, and Jay-Z.

West Coast hip-hop

A regional style of hip-hop that originated in Los Angeles and its surrounding areas. It is characterized by funky beats, synthesizers and gangsta rap themes. Some of the icons of West Coast hip-hop include Dr. Dre, Snoop Dogg, Tupac Shakur, and The Game.

Southern hip-hop

A regional style of hip-hop that originated in the Southern states of the U.S., such as Texas, Louisiana, Georgia and Florida. It is characterized by slow and heavy beats, chopped and screwed vocals, crunk energy and dirty south slang. Some of the icons of Southern hip-hop include Outkast, UGK, Scarface, Lil Wayne and T.I.

Midwest hip-hop

A regional style of hip-hop originated in the Midwestern states of the U.S., such as Illinois, Michigan, Minnesota, and Ohio. It is characterized by fast and complex flows, lyrical dexterity, and diverse influences from other genres such as soul, rock, and techno. Some of the icons of Midwest hip-hop include Eminem, Kanye West, Common, Bone Thugs-n-Harmony, and Tech N9ne.

Trap

A subgenre of hip-hop that emerged in the early 2000s in the Southern U.S., especially in Atlanta. It is characterized by hard-hitting drums, 808 bass, hi-hat rolls, and lyrics about drug dealing, crime and street life. Some of the pioneers of trap include T.I., Gucci Mane, Young Jeezy and Three 6 Mafia.

Conscious hip-hop

A subgenre of hip-hop that emerged in the late 1980s and early 1990s that focused on themes such as social justice, political awareness, spirituality and Afrocentrism. It was influenced by the civil rights movement, black nationalism and the teachings of Islam. Some of the innovators of conscious hip-hop include Public Enemy, KRS-One, Mos Def and Talib Kweli.

Mumble rap

A type of hip-hop that became popular in the mid-2010s is known as mumble rap. This subgenre features slurred or unintelligible vocals, simple beats, and memorable hooks. Some people criticize mumble rap for its lack of meaningful lyrics and technical ability. Notable artists in this category include Future, Lil Uzi Vert, Migos, and Lil Yachty.

These are just some of the main subgenres and styles of hip-hop music. Many more variations and hybrids exist within this rich and diverse genre. Hip-hop is constantly evolving and adapting to new trends and influences, making it one of the most exciting and influential forms of music in the world. Hip-hop has shaped and transformed the music industry and culture for decades. It has given voice to the marginalized, challenged the status quo, and inspired generations of artists and fans. Hip-hop celebrates creativity, innovation, and expression. And it's here to stay.

[rhpsdys]

ok here is the long-awaited post on bardic religion !! while this was constructed for urban fantasy, it works fine in any fantasy setting where religion isn't monotheistic... aka, it wasn't constructed for toh, but i am interested in exploring how it might fit in.

qhorhas, the god of music/storytelling is more of a patron — a deity with followers && practices ; one you pray to, but don't worship. while most of qhorhas' followers are bards, no one is excluded. however, the core tenets are center around the belief that qhorhas bestowed the ability to channel magic through music. while most magic-users who practice music-based magic are bards, anyone can learn it, && so anyone can be a follower of qhorhas.

qhorhas is most heavily associated with folk music && to a lesser degree classical/chamber music. in urban fantasy settings, other genres (like rock or rap or pop) aren't excluded from prayer && practice, && there are followers who do associate these genres with them, so it's not blasphemous, but it is less common, although it's being seen more && more among younger generations.

repetition, utilized in solo meditation (listening to music or practice), is central in all facets of qhorhas' following. folklore is built && developed because we tell stories over && over, the development of musical styles is an iterative process, && practicing art involves tons of repetition. repetitive movement is also used in some spiritual practices in "our" world to induce a transcendent or meditative state, so it stands to reason that the same could be applied here.

rather than formal places of worship, followers of qhorhas use their practical locations of their craft as sacred spaces for prayer && practice. think concert hall as cathedral, or a theatre as a temple, or even a small practice room as a makeshift area for individual reflection. these spaces’ relationship to acoustics—encouraging or restricting echoes and reverb—creates another form of repetition. the concert hall below the bardic library is the largest one, but many utilize practice rooms elsewhere in the library.

the sessions, either individual or structured, are quiet meditative time in the place of artistic practice, for reflection && mental && physical preparation. many rituals include practice with an instrument as well as either reading recorded folklore/mythology or listening to another storyteller recounting those stories. but there is an outreach aspect as well, which is sharing that music with other people (ie performance) as well as being a more public storyteller (think busking, with a story recitation accompanied by music), though the scope of how far one travels to spread these tales && inspire others varies from person to person. there are even some bards who ultimately end up becoming folk heroes in their own right, or even mythological figureheads — ones who ultimately end up with stories told about them, based on their deeds && accomplishments.

qhorhas is not a god who communicates through words or direct messages, but rather signs through sound ; a hum in the air, a whistle of the breeze, a wind chime or a timely bell toll, vibrations under feet, etc. all these signs are subject to interpretation, && the stronger relationship && rapport you build with them, the clearer these signs become.

the most dedicated followers of qhorhas eventually become leaders within their community ; they are the ones who have the most communication with qhorhas && are able to interpret signs with ease, as well as lead formalized gatherings. in many ways, they're more like public servants than religious leaders as we think of them, && are the ones spearheading outreach && the organization of public performance && education.

to utilize d&d language, since that's what this was originally created for, they will multiclass in cleric. i'll come up with terminology for the different rankings later, but the minimum level required to be a member of the "clergy" so to speak would be six — three levels in cleric, && three in bard. i would say 50% are in the college of creation, with about another 40% distributed between valor, eloquence, && spirits, && the remaining 10% are in other colleges, or in rare instances, not bards at all. the highest ranking have ten levels in cleric, meaning at the minimum level to achieve that rank is thirteen. i'm not sure if raine ultimately takes any levels in cleric... i think it's very likely, but that's something i need to think about more.

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The Evolution of American Rappers and Their Global Influence

Hip-hop is more than just a music genre; it is a movement that has shaped culture, fashion, politics, and artistic expression for decades. Since its emergence in the 1970s in the Bronx, New York, hip-hop has grown into a dominant force in global entertainment. At the heart of this transformation are American rappers, whose storytelling, rhythmic mastery, and unique styles have elevated rap to an art form admired across continents. From the early pioneers of hip-hop to today’s modern superstars, these artists have continually pushed the boundaries of creativity and influence.

The Roots of Hip-Hop and the Birth of Rappers

Hip-hop was born out of necessity, created by marginalized communities as a form of self-expression and storytelling. The 1970s saw the rise of block parties in New York City, where DJs like Kool Herc, Grandmaster Flash, and Afrika Bambaataa laid the foundation for what would become rap music. Early American rappers such as Kurtis Blow, The Sugarhill Gang, and Run-D.M.C. turned rhythmic poetry into a dynamic musical experience, using beats and rhymes to address societal issues.

By the 1980s, hip-hop had evolved into a platform for activism and change. Political and socially conscious rap emerged through artists like Public Enemy and KRS-One, who used their music to highlight racial injustice, economic struggles, and the realities of urban life. As rap gained mainstream recognition, it became clear that hip-hop was more than just a passing trend—it was a cultural revolution.

The Golden Age: Storytelling and Lyrical Mastery

The late 1980s and 1990s are often referred to as the golden age of hip-hop, a time when lyrical storytelling, innovation, and raw talent flourished. The East Coast-West Coast rivalry defined this era, with New York and California producing some of the most legendary names in rap history. Artists like Tupac Shakur and The Notorious B.I.G. became icons, delivering powerful lyrics that reflected their personal struggles and the realities of their communities. Nas, Jay-Z, and Wu-Tang Clan took lyrical complexity to new heights, crafting intricate rhymes that resonated with fans across the world.

During this time, hip-hop expanded beyond the streets and into the mainstream, with record labels recognizing its commercial potential. Rap became a dominant force on radio, television, and in film soundtracks. Albums like The Chronic by Dr. Dre, Illmatic by Nas, and Ready to Die by The Notorious B.I.G. set new standards for lyricism and production, proving that rap could be both artistic and commercially successful.

The 2000s: Commercial Success and Global Influence

As the new millennium arrived, hip-hop transitioned into an era of commercialization and global influence. Artists like Eminem, Kanye West, and 50 Cent took rap to unprecedented heights, selling millions of records worldwide and introducing hip-hop to audiences who had never engaged with the genre before. Hip-hop began to dominate pop culture, with rappers collaborating with pop, rock, and R&B artists to create crossover hits.

With the rise of streaming services, digital downloads, and social media, rap’s reach extended beyond the United States. Hip-hop became a universal language, inspiring international artists to adopt its elements and create their own versions of rap music. Countries like the UK, France, South Korea, and Nigeria developed thriving hip-hop scenes, proving that the impact of American rappers had transcended borders.

The 2000s also saw rap evolve into a platform for entrepreneurship. Jay-Z became a billionaire through his music and business ventures, while artists like Dr. Dre, P. Diddy, and Lil Wayne expanded their empires into clothing, alcohol, and technology. Hip-hop was no longer just about the music—it was an industry in itself.

Modern Hip-Hop: Innovation, Diversity, and Social Impact

Today’s rap landscape is more diverse than ever before. The rise of independent artists, SoundCloud rappers, and internet-driven music careers has redefined success in the industry. Social media platforms like Instagram, TikTok, and YouTube have allowed new artists to bypass traditional record labels and reach audiences directly. Lil Nas X, for example, skyrocketed to fame with his viral hit “Old Town Road,” showcasing the power of digital platforms in the modern music industry.

In addition to innovation, today’s hip-hop scene is more inclusive than ever. Female rappers such as Nicki Minaj, Cardi B, and Megan Thee Stallion have broken barriers and achieved commercial success, proving that rap is no longer a male-dominated genre. LGBTQ+ artists are also gaining visibility, challenging traditional stereotypes within the hip-hop community.

Social activism has remained a core element of modern rap, with artists using their platforms to advocate for change. Kendrick Lamar’s To Pimp a Butterfly and J. Cole’s 4 Your Eyez Only address issues like racial injustice, police brutality, and systemic oppression. Hip-hop has become a vehicle for social commentary, echoing the voices of those who have been historically unheard.

The Future of Hip-Hop and American Rappers

As technology continues to evolve, the future of rap looks more exciting than ever. Artificial intelligence, virtual reality concerts, and NFT-based music releases are beginning to reshape the industry, giving artists more control over their work and distribution. The rise of independent labels and self-released music is shifting power away from major record companies, allowing artists to maintain creative and financial autonomy.

Meanwhile, the global influence of hip-hop continues to expand. Collaborations between American rappers and international artists are more frequent, blending different musical styles and cultural influences. Latin trap, Afrobeat-infused rap, and K-pop collaborations are introducing hip-hop to entirely new audiences, ensuring its relevance for generations to come.

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