Bad Boy Chiller Crew
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- bloodsport blue ciroc bradford crew bristol cecilia cecilia enough to make you steal for her greebos herbaholic bionic chronic knuckle sandwich lyrical guillotine mush owen hatherley smelly people that beautiful time in your life the art of violence to the death war stories where's your tool? you know how we do you the lads and no birds at all
"And in between they boast that they've succeeded in getting rid of their unhappiness, but everyone knows it's not true and they've simply kept it all to themselves. Since at the little game you get uglier and more repulsive as you grow older, you can't hope to hide your unhappiness, your bankruptcy, any longer. In the end your features are marked with that hideous grimace that takes twenty, thrity years or more to climb form your belly to your face. That's all a man is good for, that and no more, a grimace that he takes a whole lifetime to compose. The grimace a man would need to express his true soul without losing any of it is so heavy and complicated that he doesn't always succeed in completing it.”
luka
Well-known member
i just went for a walk
WashYourHands
Cat Malogen
Pasty.
Caveat - I’m fucking knackered so forgive the fog. The only contention I have with the original tune is there’s never going to be a day where I’d want to listen to it again, authentic cultural creation, novelty flash or otherwise. There’s kids having fun and then there’s a momentary attention grabbing artefact of something that will ultimately be forgotten within a year or so. Without social media, BBC3, abortions like Vice and a platform like YouTube, how many here would even have heard of them? It’s McDonalds-esque which isn’t snobbery and it’d be crass to think otherwise. As performance it works. As music it doesn’t.
To further the bad boy chiller critique, Nottingham produced some killer hip-hop acts over the years that usually get overlooked, but even this hub deteriorated with time. NG83 were a quality crew of kids who nailed their repertoire of music and dance, probably best viewed through this documentary
www.imdb.com
There were waves of artists. The 90’s produced Out Da Ville and The P Brothers who were among some of the more fully realised talents who came later
www.discogs.com
www.discogs.com
Heavy Bronx label
Big Daddy magazine caught the apex of the wave, short lived but diverse and focused in scope
www.discogs.com
Within a few years though, an extreme escalation in gun crime accelerated the city prolapsing. Then, somewhere in the middle of that, Pitman appeared and in the last decade Sleaford Mods are possibly the last and best known act from these lineages (and i doubt too many here see them as ‘culturally relevant’). Imho with the latter, this has nothing to do with race and everything to do with white working class men getting a bit too serious with their art. The age of these protagonists plays into the viewers/listeners reaction to their cultural mix too.
What I’m trying to tease out is that, musically, there’ve been recurring talent pools in this country, but most of the good shit gets overlooked which compounds the search, leaving us clawing at and clutching for authenticity. The shock and novelty of the new. I see a large component of this through the lens of English notions around class anxiety. And whatever paste is, Covid will riff all over that for better or worse. Even then it isn’t all so grey, even if the weather is. Hardcore is proof that a melting pot can (and does) unfold/coalesce now and again, where class means (and meant) nothing and where the quality of music IS everything.
There’s Lego everywhere, I’m fuckin pasted.
Caveat - I’m fucking knackered so forgive the fog. The only contention I have with the original tune is there’s never going to be a day where I’d want to listen to it again, authentic cultural creation, novelty flash or otherwise. There’s kids having fun and then there’s a momentary attention grabbing artefact of something that will ultimately be forgotten within a year or so. Without social media, BBC3, abortions like Vice and a platform like YouTube, how many here would even have heard of them? It’s McDonalds-esque which isn’t snobbery and it’d be crass to think otherwise. As performance it works. As music it doesn’t.
To further the bad boy chiller critique, Nottingham produced some killer hip-hop acts over the years that usually get overlooked, but even this hub deteriorated with time. NG83 were a quality crew of kids who nailed their repertoire of music and dance, probably best viewed through this documentary
NG83 When We Were B Boys (2016) - Plot - IMDb
NG83 When We Were B Boys (2016) - Plot summary, synopsis, and more...
www.imdb.com
There were waves of artists. The 90’s produced Out Da Ville and The P Brothers who were among some of the more fully realised talents who came later
Out Da Ville
Explore the discography of Out Da Ville. Shop for vinyl, CDs, and more from Out Da Ville on Discogs.
www.discogs.com
P Brothers
Explore the discography of P Brothers. Shop for vinyl, CDs, and more from P Brothers on Discogs.
www.discogs.com
Heavy Bronx label
Big Daddy magazine caught the apex of the wave, short lived but diverse and focused in scope
Big Daddy
Big Daddy was a bi-monthly UK based hip hop, soul, funk, breakbeat and graffiti magazine. After a print run of twelve issues Big Daddy Magazine ceased publication and changed its name to Grand Slam Magazine which ended again after a shorter run of four issues. Some issues included a cover CD...
www.discogs.com
Within a few years though, an extreme escalation in gun crime accelerated the city prolapsing. Then, somewhere in the middle of that, Pitman appeared and in the last decade Sleaford Mods are possibly the last and best known act from these lineages (and i doubt too many here see them as ‘culturally relevant’). Imho with the latter, this has nothing to do with race and everything to do with white working class men getting a bit too serious with their art. The age of these protagonists plays into the viewers/listeners reaction to their cultural mix too.
What I’m trying to tease out is that, musically, there’ve been recurring talent pools in this country, but most of the good shit gets overlooked which compounds the search, leaving us clawing at and clutching for authenticity. The shock and novelty of the new. I see a large component of this through the lens of English notions around class anxiety. And whatever paste is, Covid will riff all over that for better or worse. Even then it isn’t all so grey, even if the weather is. Hardcore is proof that a melting pot can (and does) unfold/coalesce now and again, where class means (and meant) nothing and where the quality of music IS everything.
There’s Lego everywhere, I’m fuckin pasted.
craner
Beast of Burden
Pasty.
Caveat - I’m fucking knackered so forgive the fog. The only contention I have with the original tune is there’s never going to be a day where I’d want to listen to it again, authentic cultural creation, novelty flash or otherwise. There’s kids having fun and then there’s a momentary attention grabbing artefact of something that will ultimately be forgotten within a year or so. Without social media, BBC3, abortions like Vice and a platform like YouTube, how many here would even have heard of them? It’s McDonalds-esque which isn’t snobbery and it’d be crass to think otherwise. As performance it works. As music it doesn’t.
To further the bad boy chiller critique, Nottingham produced some killer hip-hop acts over the years that usually get overlooked, but even this hub deteriorated with time. NG83 were a quality crew of kids who nailed their repertoire of music and dance, probably best viewed through this documentary
NG83 When We Were B Boys (2016) - Plot - IMDb
NG83 When We Were B Boys (2016) - Plot summary, synopsis, and more...
There were waves of artists. The 90’s produced Out Da Ville and The P Brothers who were among some of the more fully realised talents who came later
Out Da Ville
Explore the discography of Out Da Ville. Shop for vinyl, CDs, and more from Out Da Ville on Discogs.
P Brothers
Explore the discography of P Brothers. Shop for vinyl, CDs, and more from P Brothers on Discogs.
Heavy Bronx label
Big Daddy magazine caught the apex of the wave, short lived but diverse and focused in scope
Big Daddy
Big Daddy was a bi-monthly UK based hip hop, soul, funk, breakbeat and graffiti magazine. After a print run of twelve issues Big Daddy Magazine ceased publication and changed its name to Grand Slam Magazine which ended again after a shorter run of four issues. Some issues included a cover CD...
Within a few years though, an extreme escalation in gun crime accelerated the city prolapsing. Then, somewhere in the middle of that, Pitman appeared and in the last decade Sleaford Mods are possibly the last and best known act from these lineages (and i doubt too many here see them as ‘culturally relevant’). Imho with the latter, this has nothing to do with race and everything to do with white working class men getting a bit too serious with their art. The age of these protagonists plays into the viewers/listeners reaction to their cultural mix too.
What I’m trying to tease out is that, musically, there’ve been recurring talent pools in this country, but most of the good shit gets overlooked which compounds the search, leaving us clawing at and clutching for authenticity. The shock and novelty of the new. I see a large component of this through the lens of English notions around class anxiety. And whatever paste is, Covid will riff all over that for better or worse. Even then it isn’t all so grey, even if the weather is. Hardcore is proof that a melting pot can (and does) unfold/coalesce now and again, where class means (and meant) nothing and where the quality of music IS everything.
There’s Lego everywhere, I’m fuckin pasted.
Hang on, why are you playing Lego?
luka
Well-known member
well again, only if you assume it has some kind of duty to social realism
craner
Beast of Burden
Smart lad.
So did Photek, he fled the grey dead end of minimalist Samurai drum and bass for Hollywood movie scores and marriage to a Taiwanese actress.
I approve of that sort of thing.