Download Underground Hip Hop Beats Extra Quality
Andera Swearengin
Hate that most rappers in general that I've been listening for years are now switching to trap beats. I love classic hip hop beats and while I do listen to some trap here and there, I prefer the former all the way.
In her article "The Greek Beat and Underground Scene of the 1960s and 1970s" Eftychia Mikelli discusses the renewed interest in the Beat Generation in Greece. She argues that it is less known that the Beats exercised significant influence upon Greek underground literature and culture in the sixties and seventies, inspiring the development of a Greek Beat "hybrid." Bearing the influences of US-American Beat, new writing emerged which was also shaped by a distinctively Athenian social and cultural context, eventually leading to the formation of the Greek "Scene." This is the term by which Beat-influenced Greek artists, such as Spyros Meimaris and Panos Koutrouboussis, were introduced in Σήμα (Sima) magazine (issue 9, 1975). Focusing mainly on texts published in this issue, Mikelli explores the literary and cultural significance of the early stages of the development of the Beat and Underground Scene in Greece thus charting further Transatlantic Beat connections.
View Product About One Tone One Tone is a hip-hop producer based out of the Bay Area with over 7 years of producing experience. This site is your home for licensing old school hip-hop beats.
A meticulous songwriter, producer and multi-instrumentalist, Chelsea Warner fuses slick beats with clever lyricism from her home studio in Sydney, Australia. At age 20, she is cultivating her own lane of conscious alt-R&B, exploring self, girlhood and growth in amongst navigating the odd existential crisis. Having collaborated with artists such as Urthboy, Vetta Borne, Nardean and Liyah Knight, she pays homage to 90s hip-hop & R&B with crafty hooks and characteristic beats.
Thanks to the internet age, underground music is finally getting proper recognition. Independent artists can create music and a following to back it. The music community finds new ways to get in touch and collaborate with its members, and overall life as a musician has become more successful.
(AP) - The National Science Foundation has chosenSouth Dakota's closed Homestake Gold Mine to house a federallyfunded underground physics lab, a project that could bring millionsof dollars to the state.
The lab would conduct research in physics, astrophysics, earthscience and geomicrobiology, studying particles from the sun, theformation of minerals and hydrology inside the Earth and microbiallife deep underground.
Physicists want to go deep underground to conduct experiments toincrease their understanding of the universe's composition, itsbeginning and its future. More than a mile of rock would filter outmany of the cosmic rays.
"The reason for going underground is the same reason whyastronomers look at stars at night," said Ken Lande, a Universityof Pennsylvania physicist who manages a small existing undergroundlab at Homestake.
His early beats, by his own admission, weren't very good. But his knack for marketing them to aspiring rappers online, for anywhere from $20 to $200 a pop, was. Six months later, the middle school dropout had earned about $12,000, money made from tracks posted at night and purchased by a steadily growing following by morning.
Now 25, Taylor says he earned more than $500,000 last year from online beat leases and sales; his latest placements include tracks with Gucci Mane, Kodak Black, and Big Sean. In August, Taylor took his mom to LA to ink a substantial publishing deal with Warner/Chappell's Artist Publishing Group that will also allow him to continue independently selling beats through his Internet Money channel to his nearly 80,000 followers online. It's among the first deals of its kind.
Taylor belongs to a growing crop of internet producers leading an evolving underground economy, born from a democratized music landscape in which anyone with access to software, an internet connection, and a PayPal account can hawk their digital wares. At a moment when producers have ascended from background players to name-brand stars in their own right, Taylor, his peers, and the digital marketplaces that cater to them seem to have figured out what much of the traditional music industry has struggled to do over the past 15 years: Pay the bills with music.
A crop of internet-based producers are democratizing the music-production process and creating a digital marketplace by leasing beats to up-and-coming artists operating outside of the traditional music industry.
As music creation adopts the one-click convenience of the internet, beats are just one example of prefab song elements available for anyone to purchase and piece together, alongside voice tags, instrument kits, and vocal features. The web also fosters collaboration in an unprecedented way, connecting creators across continents and exposing them to wider audiences. The result is a new industry frontier, somewhere between anarchy and globalization.
By the late 00s, SoundClick led the pack, evolving into a kind of Myspace for producers and other musicians, complete with profile pages and a chart system that helped give underground producers wider exposure. As social media came to the fore, other sites and platforms, like BeatStars and MyFlashStore (now known as Airbit), emerged to help consolidate and capitalize on the rapidly growing market. By the time YouTube was embraced as a go-to hosting platform, online-production exchange had become its own thriving economy.
Seven years ago, Taz Taylor started leasing beats he created using borrowed music-production software. Today he has a major label contract and says he made $500,000 last year from online beat leases and sales. Photo by Ryan McFadden.
Illmind has his own stake in the production market, creating and selling drum kits online. Called Blap Kits, these instrument packs have become a go-to source for drum sounds, kits, and sample loops for underground and mainstream producers alike.
"[Type beat leasing] also immediately brands you in a way that people associate with you not being special," Illmind said. "What this does is open you up to the kind of artists who are looking for 'Drake-type beats,' rather than doing something original." His problem, he said, is with the cheapened, transactional nature of the craft, which homogenizes sounds and holds producers with mainstream ambitions back.
Illmind and others, like veteran producer 9th Wonder, have sparked intense debate on Twitter after voicing concerns that the online-production model cheapens the sound and process, a stance that Taylor and others have refuted as misinformed. Taylor, who launched his Internet Money channel and collective in part as a means to support and educate other online producers, argues that the work of internet producers bears little difference from that of their mainstream counterparts, who craft beats for the artists with whom they'd like to work. The difference, he said, is their independence gives producers a fair shake in the game.
"Anybody can be where I am if they bust their ass and focus on marketing. It's not how good the beats are; it's your branding," Taylor said. "I'm not an exception to the rule. I can name over 30 people who make over six figures online. All come from nothing."
Illmind, who produces beats and also sells beat kits that help others to do the same, said he's worried that the beat-leasing marketplace is cheapening the sound and process. Photo by Peter Garritano.
BeatStars founder Abe Batshon hopes to change this. The social music marketplace, launched in 2008, was the first platform of its kind to introduce formal contracts, licensing agreements, and pay structures, evolving into a kind of one-stop shop for the online-production world. Today, its services are expanding to cover many of the gaps in the unregulated beat-leasing market, including revenue distribution between collaborators, SoundCloud and YouTube monetization, and even an in-house label. Batshon said he wants the Austin-based BeatStars to become "the eBay or Amazon of beats."
A former musician himself, Batshon left the world of underground hip-hop to work at global distribution and marketing group INgrooves, where he said he helped discover and represent artists like Killer Mike and Macklemore, and gained the knowledge he applied to the passion project that became BeatStars.
"I still think there's a big education gap of what we're doing with a lot of producers," Batshon said. "A lot of producers just want to make beats. They don't care about selling, they just want to put it up on SoundCloud and they're happy, right? There's still, I think, a huge segment of the community that don't [sell] their content online, and there's a lot of artists that still are stuck in the traditional ways, where they don't even know that you can buy beats online." But money is only part of making it. Some who have crossed over to mainstream industry success have faced a steep learning curve upon arrival.
The music video was recorded in an empty London warehouse days after Girls Aloud were formed. The song has been performed by Girls Aloud in a number of live appearances including Popstars: The Rivals and each of Girls Aloud's concert tours. Critically appreciated for its juxtaposition of surf guitar against electronic beats, "Sound of the Underground" was praised for its quality for both a girl group and a reality television act. The song was referred to as a defining moment of the decade musically, credited with reshaping British pop for the 2000s.[5][6]
"Sound of the Underground" received a positive response from most music critics. It "proved a first: it was a reality pop record that didn't make you want to do physical harm to everyone involved in its manufacture."[18] A review for Girls Aloud's debut album stated that the song has "become a pulsating pop classic with a modern, metallic beat, catchy chorus and just the right amount of sleaze."[19] The song was further described as "an enticing blend of spiky guitars and Fatboy Slim beats topped off with an irresistibly catchy chorus."[20] Michael Osborn said that "Sound of the Underground" offers "a fresh tune that has no intentions of following the road to seasonal schmaltzville."[21] An article from The Guardian called the song "an icy confection very different from the normal run of girl-band things."[13]
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