australianhiphopasasubculture(编辑修改稿)

australianhiphopasasubculture(编辑修改稿)内容摘要：

ic press columnist Miguel D39。 Souza begins his liner notes to the 1997 pilation Homebrewz vol. 2: A potent mix of Australian hip hop flavour as follows: Albums by Australian artists that had any noticeable impact on the local music scene in the mid1990s contain references to Australian hip hop39。 s underground status in their titles. Sound Unlimited39。 s A Postcard from the Edge of the Underside was released by Columbia/Sony in 1992the only Australian rap album until 2020 to e out on a major labeland Def Wish Cast39。 s Knights of the Underground Table, was released on the group39。 s own independent Random Records in Penrith 1993. Sydneybased editor of hip hop fanzine Stealth, hip hop promoter and 2SER radio DJ Mark Pollard (2020) notes that [Sound Unlimited] were mocked to some degree by the more underground crews. Pollard regards Def Wish Cast, on the other hand, as the quintessential Sydney hip hop crew ... few crews have been as wellrounded and have made such a large impact ... Knights of the Underground Table became a manual for Australian hip hop.... The clip for 39。 A. .39。 gave a face to Australian hip hop and was pivotal in shaping generations to e (2020, ). Albums by Australian artists that had any noticeable impact on the local music scene in the mid1990s contain references to Australian hip hop39。 s underground status in their titles. Sound Unlimited39。 s A Postcard from the Edge of the Underside was released by Columbia/Sony in 1992the only Australian rap album until 2020 to e out on a major labeland Def Wish Cast39。 s Knights of the Underground Table, was released on the group39。 s own independent Random Records in Penrith 1993. Sydneybased editor of hip hop fanzine Stealth, hip hop promoter and 2SER radio DJ Mark Pollard (2020) notes that [Sound Unlimited] were mocked to some degree by the more underground crews. Pollard regards Def Wish Cast, on the other hand, as Underground status bees equated with authenticity and establishing an historical precedent for a national formation. Lack of media coverage also defines underground status. Since 1994, there have only been three major newspaper features dealing with Australian hip hop, with each containing distortions and factual errors (see Guilliat 1994。 Epaminondas 1999。 Shedden 2020). Ian Shedden39。 s 2020 Australian feature article 39。 Hip Hop to the Trip39。 claimed that a growing number of artists are emerging from the underground with music that is more expertly recorded and produced, and the barrier preventing rap in an Aussie accent being taken seriously is starting to crumble (2020, ). He also discussed the Adelaidebased pilation Culture of Kings, and included a separate feature on MC Trey, who is frequently used, along with Maya Jupiter, to provide a mediafriendly female, multicultural image for Australian hip hop. (It is worth emphasising that these two female MCs owe their prominence in the Sydney and national hip hop scene primarily to their talents and abilities.) But the implications of Shedden39。 s article were that it was only by joining forces with aspects of Oz Rock that Australian hip hop was beginning to find a wider audience. 1200 Techniques39。 DJ Peril is a veteran of the Melbourne hip hop scene, and both the Avalanches39。 DJ Dexter and Resin Dogs39。 DJ Katch are also regarded with respect in the Australian hip hop munity, but the music of the three groups is generally regarded as something of a mainstream sellout. 2 An important feature of its subaltern status is its strong DIY (DoItYourself) aspect in producing recordings, concerts, media and public events. Until the late 1990s, it was customary for new Australian hip hop albums to be released on selfproduced cassettes: Trey, Koolism, Noble Savage (featuring Blaze), Easybass and Fathom all produced first cassette releases that are now collectors39。 items. This Tape Culture was another defining aspects of Sydney39。 s DoItYourself hip hop underground (Pollard 2020, ). Similarly, most Australian hip hop CDs have been released on selfproduced CDs (for example, Sleekism Records, Fuglemen, Illegal Records, Dope Runner Records) or small independent labels like Parallax View, Elefant Tracks, Random Records, or local independent label Mushroom Records39。 offshoot MDS/MXL. The principal distributor of Australian hip hop on CD is Creative Vibes, a small outfit run by Mother Tongues founder Heidi Pascal, which also distributes local and overseas dance music and electronica. Other production panies bine production with radio DJing, concert and DJ battle petition promotions, and the Urban Xpressions and Stealth hip hop festivals that have taken place in Sydney most years since 1998. With the exception of the Triple J hip hop show, most media outlets are also DIY: hip hop shows on munity radio stations like 2SER, Bondi FM and their equivalents in other cities。 the Vaporz graffiti fanzine (founded by Blaze in 1988 and which Pollard (2020) claimed to be the first hip hop magazine in the world ())。 and the regular hip hop columns and features in the free Sydney weekly music press 3D World, Revolver and Drum Media and their equivalents in other cities. The production standards of such DIY activity are often low, and products are consequently rejected or criticised by mainstream media outlets. 3 It has been subject to sporadic bursts of modification and incorporation as a musical genre (rap) that serve to further entrench and consolidate notions of authenticity. Only two Australian hip hop acts have been signed to major labels: Sound Unlimited to Sony/Columbia in 1993。 and 1200 Techniques to Sony39。 s independent label Rubber Records in 2020. There was much discussion within the Australian hip hop scen。