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What is Post-Modern Hip-Hop? · Hip-Hop Now Podcast

0:02
Speaker 1: Welcome to hip Hop Now pot fat as if become
0:08
Speaker 1: the future, you know what to do? Show as out
0:11
Speaker 1: of my past life, so disrespectful leg hip hop can
0:18
Speaker 1: say this today, Let's get right into the business. What up, y'all?
0:23
Speaker 1: I am your host Vegas and this hip Hop Now
0:26
Speaker 1: podcast say podcast specifically designed to keep you caught up
0:30
Speaker 1: on all things hip hop, music and culture that happened
0:34
Speaker 1: throughout the week. Welcome to another bonus episode of hip
0:39
Speaker 1: Hop Now Podcasts Say Reaction if you will. This is
0:43
Speaker 1: be the second one I've done so far, so I'll
0:46
Speaker 1: keep them going as long as people enjoy them, you know,
0:50
Speaker 1: as long as I have time to do them. Feel
0:52
Speaker 1: me okay a pause? Whatever? Uh? Big shout out to
0:57
Speaker 1: those who have supported this podcast, whether you subscribe via
1:02
Speaker 1: audio where the podcast is available on Apple Podcasts, Spotify,
1:07
Speaker 1: wherever you get your podcast listening, trust me wherever I've
1:11
Speaker 1: been working at for a minute, an audio form in
1:14
Speaker 1: YouTube form. We started. This channel started as kind of
1:20
Speaker 1: like an everything channel, right, like a content dump. Right.
1:24
Speaker 1: I put some of my music on here, I played
1:26
Speaker 1: video games. I streamed video games on this channel. You know,
1:31
Speaker 1: I put other hip hop content up here. But at
1:33
Speaker 1: one point during the fiftieth year of hip hop, I decided, Okay,
1:38
Speaker 1: let's just take the audio podcast and make it a
1:41
Speaker 1: video podcast and go from there. And so we are
1:47
Speaker 1: knocking on the door of ten thousand subscribers right here
1:51
Speaker 1: on YouTube. The goal of the year was ten thousand subscribers.
1:58
Speaker 1: We're not even at the halfway point, and we're about
2:01
Speaker 1: to hit ten thousand subscribers. So if you found this content, however,
2:05
Speaker 1: you found it through searches, maybe you like the shortsop post,
2:10
Speaker 1: subscribe to the channel, like the videos, and more importantly,
2:14
Speaker 1: shared with people you know enjoy this kind of content.
2:17
Speaker 1: Now with a reaction from me kind of doing two things.
2:24
Speaker 1: Supporting the channels that I subscribe to that I think
2:28
Speaker 1: post interesting content all the time, but just making sure
2:32
Speaker 1: it relates. So the first reaction video I did was
2:34
Speaker 1: about Spotify and whether Spotify's algorithm was ruining the music industry.
2:41
Speaker 1: You can check that out on the channel. There'll be
2:43
Speaker 1: links at the end of this video and a link
2:45
Speaker 1: up the top. But this one is a channel I
2:48
Speaker 1: subscribe to, and I think I follow him on social media.
2:53
Speaker 1: Death Gold Bloom, not Jeff Go Bloom, Death Go Boom,
2:59
Speaker 1: and as a series of videos almost like essays about
3:04
Speaker 1: different things in hip hop, like most hip hop channels do,
3:06
Speaker 1: but he puts a lot of production and effort into it,
3:10
Speaker 1: and I kind of enjoy it, and this particular video
3:14
Speaker 1: was interesting. Let me bring it up on. First of all,
3:16
Speaker 1: let me do a couple of things. Boom, that's the logo, y'all. Okay,
3:21
Speaker 1: Now let me bring it up. A guy to hip
3:24
Speaker 1: hop's most exciting movement. And if you're looking at the
3:30
Speaker 1: video and you look down at the bottom, says Mike,
3:34
Speaker 1: Pink Seafood and hip hop's post modern expressionist movement a
3:40
Speaker 1: video essay. Now, I know it says that I'm not
3:43
Speaker 1: subscribed there, but that's because this is not the login
3:48
Speaker 1: I use when I watch videos. This is the logging
3:52
Speaker 1: for this channel. I don't watch videos to it, so
3:55
Speaker 1: what I subscribe to doesn't even matter on this channels
4:00
Speaker 1: in the league, I did no care, okay, But I
4:04
Speaker 1: thought this video was interesting because I discovered most of
4:08
Speaker 1: these dudes who make this brand of hip hop through
4:14
Speaker 1: other reviews online right or top ten lists from hip
4:18
Speaker 1: hop sites where I would see pink Seafood and I
4:22
Speaker 1: was like, who's that? And you know why is he
4:24
Speaker 1: in hip Hop DX Best of the Year. Maybe I
4:28
Speaker 1: need to check it out, And at one point it
4:30
Speaker 1: took me down a rabbit hole of rappers who have
4:32
Speaker 1: just different status, right, different styles of approaching hip hop,
4:36
Speaker 1: whether it's the beats, whether it's the ron patterns, whether
4:40
Speaker 1: it's something specific they talk about, and death gold Boom's
4:44
Speaker 1: gonna break it down and we're gon't react to it.
4:46
Speaker 1: So let's get to it and let's stop yapping. Okay,
4:49
Speaker 1: let's stop that rot.
5:04
Speaker 2: In the shifting landscape of contemporary rap, a new wave
5:07
Speaker 2: of artists has emerged, blending abstraction, personal introspection, and avant
5:13
Speaker 2: garde soundscapes. This movement has been a renaissance of artistic expression,
5:17
Speaker 2: bringing in waves of postmodern hip hop. The two strongest
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Speaker 2: voices of this movement are Mike and Pink Seafood, whose
5:24
Speaker 2: music challenges the traditional structures of rap, embracing free form lyricism,
5:29
Speaker 2: low fi production, and an ethos that prioritizes raw emotion
5:34
Speaker 2: over conformity. They pull from not only fifty years of
5:37
Speaker 2: hip hop, but centuries of black music, bringing in an
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Speaker 2: age of artistic freedom that pulls from everything before it
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Speaker 2: to make something new.
5:47
Speaker 1: Really quick. This is a reaction video. You know, we
5:49
Speaker 1: have to stop every now and again to give our thoughts.
5:52
Speaker 1: Link with the logo backup. I don't know what I
5:54
Speaker 1: was doing, kind of wild. What I will say is
6:00
Speaker 1: and it could be the majority that watched my channel.
6:05
Speaker 1: This may not be the brand of hip hop you want. Now.
6:08
Speaker 1: This isn't mumble rap, right, This isn't a lack of skill,
6:14
Speaker 1: This isn't a lack of creativity like we see in
6:17
Speaker 1: hip hop today. But these two rappers that he's focusing
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Speaker 1: on and the rappers who do what they do. It
6:25
Speaker 1: is a movement in hip hop, but it's also based
6:29
Speaker 1: in hip hop, right, meaning being different, being unconventional. Right.
6:36
Speaker 1: Some people may think artists can be unconventional to a
6:39
Speaker 1: point where it is whack, but that's an opinion, right.
6:45
Speaker 1: Some people can get into it because it's different from
6:49
Speaker 1: everything else, including the boombat that some people like, oh,
6:53
Speaker 1: the traditional sounds of hip hop. So some people think
6:57
Speaker 1: was whack off that, but some people are that because
7:01
Speaker 1: they just want something different. So I just wanted to
7:04
Speaker 1: say that real quick because I think after this essay,
7:09
Speaker 1: after hearing these names, when you go press play on name, music.
7:13
Speaker 1: Your expectations should be set, all right, Let's get back
7:17
Speaker 1: on the video.
7:18
Speaker 2: By rejecting the mainstream's rigid expectations, they have cultivated a
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Speaker 2: space where vulnerability, experimentation, and historical awareness collide, giving birth
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Speaker 2: to one of the most compelling movements in modern hip hop.
7:30
Speaker 2: The postmodern qualities of this wave of music is a
7:34
Speaker 2: reaction to the modernization of rap over the past several years.
7:38
Speaker 2: If hip hop of the eighties and nineties would be
7:40
Speaker 2: considered classic rap, the new millennium brought the modern form
7:43
Speaker 2: of what rap is in all of its forms. Artists
7:47
Speaker 2: linked with labels such as Stone's Throw or Deaf Jokes
7:50
Speaker 2: developed a distinctive aesthetic rooted in complex lyricism, intricate sampling,
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Speaker 2: and high concept production. This era refined underground wraps rawl
8:00
Speaker 2: experimental essence into something more recognizable, setting new creative standards
8:05
Speaker 2: that blurred the lines between the avant garde and what
8:08
Speaker 2: would be considered commercially viable on the underground level. On
8:11
Speaker 2: the mainstream side of things. Trap has undergone a similar
8:15
Speaker 2: process of refinement since its early days in the Atlanta
8:18
Speaker 2: rap scene. As this genre regained mainstream dominance in the
8:21
Speaker 2: twenty tens. It became the new ideal of what modern
8:24
Speaker 2: hip hop was on a mass scale. Rather than continuing
8:27
Speaker 2: to refine these elements, artists like Mike and Pink CIFU
8:31
Speaker 2: deconstruct them, pushing all forms of rap into a space
8:35
Speaker 2: of unpredictability and rough edges. They embraced the foundational techniques
8:40
Speaker 2: of the two thousands, underground lo fi sampling, dense wordplay,
8:44
Speaker 2: and abstract imagery, while being inspired by the more emotive,
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Speaker 2: less lyrically dense mainstream acts of their time, fragmenting both
8:52
Speaker 2: of these styles even further, allowing their music to sound
8:55
Speaker 2: like an unfinished thought, an emotional outpouring, rather than a
8:59
Speaker 2: fully formed state.
9:00
Speaker 1: It okay, that is key. I'll shout out to death
9:04
Speaker 1: gold Bloom for that. That is key, Right, unfinished thought.
9:11
Speaker 1: That was the hurdle for me as a traditional hip
9:16
Speaker 1: hop head. Right, feeling like you're getting to the punch,
9:22
Speaker 1: but the punch never really happens. That's kind of the
9:28
Speaker 1: art in which they exists. But I digress.
9:33
Speaker 2: Their work plays with nostalgia, not by imitating the past,
9:37
Speaker 2: but by distorting it, chopping up the smoothness of past
9:40
Speaker 2: movements into something that's deliberately jagged and incomplete. The result
9:44
Speaker 2: is a form of postmodern hip hop that does not
9:47
Speaker 2: merely reference its influences, but reinterprets them in a way
9:50
Speaker 2: that challenges the listener's expectations. Pink Seafu has albums that
9:54
Speaker 2: are directly influenced by rock, soul, trap, and many other genres,
9:59
Speaker 2: all playing on its foundational layer of hip hop of
10:02
Speaker 2: the modern era.
10:03
Speaker 1: Mike does something similar.
10:05
Speaker 2: As he's gotten older in his young career, his past
10:08
Speaker 2: few albums have gotten longer and longer, taking the listener
10:11
Speaker 2: on a journey of hip hop that plays on his
10:13
Speaker 2: influences and dissects them through a kaleidoscope of his raw emotion.
10:18
Speaker 2: Expressionism is an artistic movement that prioritizes raw emotion and
10:22
Speaker 2: subjective experience over realism. In this way, Mike and Pink
10:26
Speaker 2: Seafu's music aligns with the principles of the movement by
10:29
Speaker 2: presenting their personal narratives in ways that evoke feeling rather
10:33
Speaker 2: than prioritizing linear coherence. Instead of delivering clear cut stories,
10:38
Speaker 2: their lyrics often act as poetic sketches, dense with meaning
10:42
Speaker 2: but elusive and structure. Mike, in particular, crafts music that
10:46
Speaker 2: feels like an internal dialogue drenched in nostalgia and grief.
10:50
Speaker 2: His delivery is subdued yet deeply expressive, allowing his voice
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Speaker 2: to become another instrument within the composition rather than the
10:57
Speaker 2: dominant focus. The murky production mirrors the hazy, dreamlike quality
11:02
Speaker 2: of memory, reinforcing an expressive approach to storytelling. Pink Seafou,
11:07
Speaker 2: on the other hand, uses a regular, shape shifting vocal
11:10
Speaker 2: delivery that can shift from whispered vulnerability to outright chaos.
11:15
Speaker 2: His twenty twenty album was a prime example of expressionist intensity,
11:19
Speaker 2: as he moves between punk inspired screams and spoken word
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Speaker 2: reflections of trauma. The erratic, visceral nature of his music
11:27
Speaker 2: makes it feel like an emotional outburst, unfiltered and deeply felt,
11:32
Speaker 2: while his work with Ali and Bi kool Aid takes
11:35
Speaker 2: a much more internal, sensual approach, still, with his tonations
11:39
Speaker 2: whispered in a haze of feeling rather than articulated to
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Speaker 2: a tea, letting the feeling of expression reign supreme. Mike
11:48
Speaker 2: emerged in the Game a decade ago as a teenager
11:51
Speaker 2: and is often credited with pioneering the Slums sound. He
11:55
Speaker 2: is crafted a deeply personal and emotionally charged body of work.
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Speaker 2: His music is defined by murky, low fi beats that
12:01
Speaker 2: feel submerged in nostalgia. His lyrics depict his emotional memories,
12:06
Speaker 2: and his low energy, stream of conscious flow works perfectly
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Speaker 2: for making each song feel like it's pouring out of
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Speaker 2: him even.
12:13
Speaker 1: If Okay, really quick, So leave your comments in a
12:20
Speaker 1: comments section below. Based off of what you heard so far,
12:24
Speaker 1: I think this video is doing an excellent job of
12:29
Speaker 1: explaining who these artists are, what the genre of or
12:35
Speaker 1: the subgenre of hip hop it is, what the approach
12:38
Speaker 1: to the flows are. It is not for everybody. I'll
12:43
Speaker 1: say that because it's almost as if you have to
12:46
Speaker 1: put yourself in a similar state. Like if you if
12:50
Speaker 1: you're new to hip hop and this is how you
12:53
Speaker 1: discovered hip hop, this is this is straight up normal
12:55
Speaker 1: to you like the approaches. It's easy to digest because
13:00
Speaker 1: it's how you was introduced to it. But if you
13:03
Speaker 1: have spent like myself decades listening to hip hop from
13:08
Speaker 1: every region and you hear this, and I like to
13:12
Speaker 1: make a joke about about Bodie James and artists like
13:18
Speaker 1: him making that disinterested rap with them disinterested flows right
13:23
Speaker 1: the way they approach it. This is a great explanation
13:27
Speaker 1: of what it actually is. It's they're being expressive in
13:32
Speaker 1: a way that's not gonna spoon feed you what they
13:38
Speaker 1: have to say in a traditional way. Boss. So I
13:43
Speaker 1: think with that in mind, a stubborn you know, boom
13:48
Speaker 1: back beings or whatever you want to call us, a
13:51
Speaker 1: shout out, shut shout out to the omish. But nevertheless,
13:59
Speaker 1: it provides a gateway into the music of these artists
14:06
Speaker 1: and artists like them. So let's go back real quick
14:10
Speaker 1: to that explanation about a h or breakdown. So Mike.
14:17
Speaker 2: Urged in the game a decade ago as a teenager
14:20
Speaker 2: and is often credited with pioneering the Slums sound. He
14:24
Speaker 2: has crafted a deeply personal and emotionally charged body of work.
14:28
Speaker 2: His music is defined by murky lo fi beats that
14:31
Speaker 2: feels submerged in nostalgia.
14:33
Speaker 1: His lyrics depict his memory.
14:35
Speaker 2: His low energy stream of conscious flow works perfectly for
14:39
Speaker 2: making each song feel like it's pouring out of him,
14:42
Speaker 2: even if the intentionality behind it is always on a
14:44
Speaker 2: level rivaled by few. What makes Mike's music so compelling
14:48
Speaker 2: is his ability to channel grief, existential dread and self
14:52
Speaker 2: reflection into his art without sacrificing his musicality. His beats,
14:57
Speaker 2: often self produced under the monik or DJ black Power,
15:00
Speaker 2: create an immersive atmosphere full of vinyl crackles and chopped
15:04
Speaker 2: up soul samples that feel both warm and distant. His
15:08
Speaker 2: music is not about direct storytelling, but about evoking emotion,
15:12
Speaker 2: painting an abstract picture of his inner world. If Mike
15:15
Speaker 2: represents introversion, Pink Seafoo embodies chaos and revolution. His work
15:20
Speaker 2: is wildly experimental, often shifting between styles and genres without warning.
15:26
Speaker 2: Seafoo's ability to shape shift across sonic landscapes makes him
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Speaker 2: one of the most unpredictable and exciting artists in this movement.
15:34
Speaker 2: It refuses to be boxed into any singular identity, using
15:38
Speaker 2: his music as both a political statement and a deeply
15:41
Speaker 2: personal exploration of his own existence. One of the defining
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Speaker 2: characteristics of Rapp's postmodern expressionist movement is its rejection of polish.
15:52
Speaker 2: These artists deliberately embrace rawness, imperfections and do it yourself mentality.
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Speaker 2: The production often sounds unfinished or rough around the edges,
16:01
Speaker 2: mirroring the unfiltered nature of their lyricism and artistry. Thematically,
16:06
Speaker 2: their music explores grief, identity, systemic oppression, and the mundane
16:11
Speaker 2: struggles of everyday life, but in a way that prioritizes
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Speaker 2: feeling over narrative clarity visual.
16:18
Speaker 1: Now this video is about two more minutes left, but
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Speaker 1: I think something was key there when it comes to
16:25
Speaker 1: rap and the difference between what you may be accustomed
16:28
Speaker 1: to versus what these guys do. That description right there,
16:33
Speaker 1: rappers are typically the opposite, right, They're typically way more confident.
16:39
Speaker 1: Nothing bothers them right sore. If it's grief, it's the
16:44
Speaker 1: dead Homie song, which is coming from a true place,
16:48
Speaker 1: don't get me twisted. But but also it's gotten to
16:57
Speaker 1: a point where it's become, you know, par for the court.
17:01
Speaker 1: You know, everybody's lost somebody. So when you have a
17:04
Speaker 1: new artist sometimes you almost anticipate there being someone who
17:08
Speaker 1: passed who knew them before they was on and now
17:11
Speaker 1: they're on. But the music in general on their albums
17:16
Speaker 1: tend to be more confident, whereas these guys tend to
17:19
Speaker 1: be more in a emo state with it. And I
17:25
Speaker 1: really like the description about instead of telling you a
17:31
Speaker 1: story and what happened, it's almost as if they're giving
17:36
Speaker 1: you their reaction and you have to figure out what
17:40
Speaker 1: the story was based off of their reaction, if that
17:44
Speaker 1: makes sense, which is kind of dope if you're a
17:49
Speaker 1: hip hop head. But let's continue in struggles of.
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Speaker 2: Everyday life, but in a way that prioritizes feeling over
17:59
Speaker 2: narrow clarity. Visually, the esthetic mirrors the sound. Their music
18:04
Speaker 2: videos are often rainy, rejecting the ultra HD style of media.
18:08
Speaker 2: In recent years, their videos often feature heavy distortion and
18:12
Speaker 2: color grading that captures dreamlike surrealism. The artwork on the
18:15
Speaker 2: cover of their albums often lean towards minimalism, collage style artwork,
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Speaker 2: snapshots of emotional memories, or abstract imagery, reinforcing the themes
18:25
Speaker 2: of the movement and the music that they make. As
18:28
Speaker 2: this movement continues to gain traction, it continues to evolve.
18:32
Speaker 2: When these artists came out, they were working mostly with
18:34
Speaker 2: dusty soul samples and more traditional styles, but with each
18:38
Speaker 2: year they get more bold and creative in their visions,
18:41
Speaker 2: pushing the movement forward into something amazing and unique regardless
18:45
Speaker 2: of where it goes. Mike, Pink, Seafu and their peers
18:49
Speaker 2: are pushing the boundaries of what rap can be in
18:52
Speaker 2: this postmodern age. They are not just making music, they
18:55
Speaker 2: are crafting sonic experiences that challenges listeners to engage in
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Speaker 2: hip hop and new and exciting ways. And doing so,
19:03
Speaker 2: they're ensuring that rapp remains a space for wrang, unfiltered expression,
19:08
Speaker 2: and they are building legendary careers while leading the genre
19:12
Speaker 2: into new and engaging directions. Thank you for watching, everybody.
19:18
Speaker 2: Let me know down in the comments, who are some
19:19
Speaker 2: other artists you feel fit into this postmodern expressionistic movement.
19:24
Speaker 1: I hope that was pretty dope. Shout out to death,
19:30
Speaker 1: go Gloom. Hold up, let me fix my John Shout
19:34
Speaker 1: out to death gold Bloom again. Subscribe to his channel.
19:37
Speaker 1: He has way more videos than that. If you like
19:40
Speaker 1: the essays, hold up, stop sharing. I guess I gotta
19:48
Speaker 1: delete it. Man, there we go. But he has a
19:52
Speaker 1: ton of videos where he does different essays. I thought
19:55
Speaker 1: this was excellent for all the things that I mentioned before.
19:59
Speaker 1: I feel like, if you're a fan of music, and
20:06
Speaker 1: when I say that, I mean like maybe a fan
20:08
Speaker 1: of rock also, a jazz expression is a big part
20:15
Speaker 1: of music in general, right, you know, for the casuals
20:20
Speaker 1: of course, but when you're talking. When I like mentioned
20:23
Speaker 1: in jazz and like improv in jazz, that sort of
20:29
Speaker 1: expression it does. The directions aren't like walk ten steps
20:35
Speaker 1: and then make a right, it's everything. It's we don't
20:39
Speaker 1: know where we're going to go. Right. But when I
20:43
Speaker 1: look at these artists like Pink Seafood in this description
20:46
Speaker 1: of artists like that, it really feels like true hip hop,
20:54
Speaker 1: Like what they're doing is a true hip hop thing,
20:56
Speaker 1: not versus your favorite or the legends in the game,
21:00
Speaker 1: but the spirit of hip hop, the expression. Right how
21:05
Speaker 1: the breakdancing was an expression, you know, when breakdancing wasn't around.
21:10
Speaker 1: It wasn't like here's a list of moves, do these
21:13
Speaker 1: moves only and your breakdancing. No, when you were in
21:17
Speaker 1: a battle, it was about trying to do something new
21:21
Speaker 1: or do the things you know in a fly away
21:23
Speaker 1: or a different way. Same thing as mcs. You had
21:27
Speaker 1: different flows, right, Like back in the days, you couldn't
21:31
Speaker 1: sound like one another, right you had to approach it
21:34
Speaker 1: in a very different way, and it was the fact
21:37
Speaker 1: that you were different than your peers that typically made
21:41
Speaker 1: you popular, especially if you was good at it. This
21:45
Speaker 1: is very interesting, this postmodern hip hop so to speak,
21:50
Speaker 1: is very interesting because of a simple fact that it's
21:56
Speaker 1: not going to be for everybody. Because for a casual
21:58
Speaker 1: this is way too deep, way too deep for them,
22:03
Speaker 1: way too much thinking I have to do too much
22:07
Speaker 1: to listen to this album. For a traditionalist, it's almost
22:11
Speaker 1: the same feeling. Right, Typically you can just listen to
22:16
Speaker 1: bars get them and be like, oh, that was hot.
22:20
Speaker 1: But like I said earlier, having the ability to at
22:26
Speaker 1: least lyrically and flow wise, to not tell you the
22:30
Speaker 1: story of what happened, but to give you their reactions
22:37
Speaker 1: and clues to what happened. So it forces you to
22:43
Speaker 1: figure out what they're talking about in a lot of ways,
22:46
Speaker 1: because you're like, oh, he shouldn't have went to the store.
22:51
Speaker 1: You know, he forgot his while it should have had
22:54
Speaker 1: his gun on him, Like not saying the music is
22:56
Speaker 1: like that, but you know what I mean, Like you're
22:58
Speaker 1: it's like a mystery. Some of us don't want to
23:02
Speaker 1: do that, let alone for a whole album, No way,
23:05
Speaker 1: no how. I'm probably one of those people, right, you
23:09
Speaker 1: probably have to release an EP where I can get
23:14
Speaker 1: each song and then I viother them. Now, the other
23:17
Speaker 1: part to that, before we dismiss class is the production.
23:22
Speaker 1: There are a lot of hip hop heads who will
23:25
Speaker 1: not like the production. They already don't like Low five,
23:29
Speaker 1: they already don't like beats that sound like they're unfinished.
23:33
Speaker 1: It's the same thing like I said with the MC's.
23:37
Speaker 1: These artists create versus where each line can sound like
23:43
Speaker 1: an unfinished thought. Then they feel like, how was that dope? Right?
23:49
Speaker 1: How was that clever? How's that art? But art continues
23:54
Speaker 1: to evolve. Now do I feel like this becomes what
24:01
Speaker 1: hip hop is today? I think there's a strong argument
24:06
Speaker 1: to be made based off of what he said in
24:08
Speaker 1: this video about eighties and nineties being considered classic rap
24:14
Speaker 1: and modern rap like your Drake's and Kendricks and all
24:18
Speaker 1: that being what rap is today Postmardern kind of being
24:24
Speaker 1: like a subgenre or the underground to the modern hip hop.
24:30
Speaker 1: Just like when you had Biggie, you had death jokes, right,
24:36
Speaker 1: stuff like that. So in a lot of ways, I
24:40
Speaker 1: think if you're interested, like I think he did an
24:43
Speaker 1: excellent job with the breakdown of what this music is,
24:47
Speaker 1: and if that makes sense to you, go check it out,
24:50
Speaker 1: Go check out the artists that fit that category. Right,
24:54
Speaker 1: I kind of feel that way. Sometimes when I listen
24:56
Speaker 1: to Billy Woods right where I could be straight up
25:00
Speaker 1: loss and sometimes I need the beats to have some
25:07
Speaker 1: form of rhythm or direction tune, And the more they don't,
25:13
Speaker 1: the less engaged I am. But that is me. What
25:18
Speaker 1: do you feel about postmodern hip hop? Does that sound
25:23
Speaker 1: like something you would like to hear or does it
25:24
Speaker 1: sound like travish to you? Like Yo, they can't rap,
25:27
Speaker 1: they can't make beats. It's whack. That's what we used
25:29
Speaker 1: to call that stuff. Leave your comments in a comments
25:32
Speaker 1: section below. Follow me on social media at bigas world
25:36
Speaker 1: I Inc. Subscribe to the podcast and audio form wherever
25:40
Speaker 1: you get your audio podcasts. Subscribe right here on YouTube
25:44
Speaker 1: to help us get to ten thousand subscribers by the
25:48
Speaker 1: end of twenty twenty five. Until next time, y'all. I
25:51
Speaker 1: am not a critic, I'm a fan piece.