Ellington

When I got Die Antwoord members Enter The Ninja and Yo-Landi Vi$$er to sign a crumpled piece of paper at a Sonic Boom Records meet-and-greet last summer, I wasn’t expecting the South African rap-rave group’s rise to stardom. In less than a year, Die Antwoord has gone from being the lesser-known opener for electronic producer Deadmau5 to headlining its own sold-out show here in Seattle. The cover for its newest album, Ten$ion, depicts the albino, alien-like Yo-Landi with angel wings, drinking blood from some indiscernible human organ.

There’s no doubt that Die Antwoord is bizarre. It is doing what seems to be an attempt at something fresh, daring, and original — it reminds me of the many other artists trying to do the same thing. It’s the shocking, the unusual, and the sometimes unbearable that sells.

Some more serious, others not so much, we’ve been exposed to a number of names and movements — there’s the trashy, lady-snatching Kreayshawn, who gained notoriety from her single release of “Gucci Gucci” and consequently made millions. There are the talented California teens of Odd Future, led by Tyler The Creator, who have used controversial content, alter egos, and images of cats to make their way to the forefront of the scene. There’s the lesser-known Spaceghostpurrp, known for his Mortal Kombat samples and his peculiar messages — such as advocating the use of protection, for all the wrong reasons — and his movement, the RVIDXR KLVN (“Raider Klan”) movement. His music is dark, gritty, and drips with a downright creepy vibe. Because of his unconventional style, he is rising in the underground scene and working with emerging artists like A$AP Rocky and Theophilus London.

This kind of variation in the number of movements, styles, messages, and aims in today’s hip-hop is at an all-time high, and makes for an interesting scene for us to follow.

“If you look at A$AP Mob, Brick Squad, Taylor Gang, SODMG, Based Movement, RVIDXR KLVN, Odd Future, etc., you can see that these are all very different styles of rap,” said Vladimir Sepetov, Rainy Dawg Radio hip-hop DJ. “But what makes them so appealing is that they are loud, obnoxious, in-your-face, love drug culture, and allow for fans to be a part of a movement.”

The factions in modern hip-hop make the rise to fame seem less formulaic. But often a single stunt, or exposure through an online medium such as YouTube or Twitter, is all it takes for an artist or a movement to become prominent. The scene has changed, and so has the formula for fame.

Brandon McCartney, also known as “Lil’ B THE BASEDGOD,” is a popular example of a new breed of satirical rappers, and heads the “Based Movement.” A member of Bay Area hip-hop group “The Pack,” his big break was actually a result of his solo project — a unique hybrid of comedy, rap, and Internet networking charisma. With more than 300 music videos and thousands upon thousands of “rare” songs, Lil’ B has garnered quite a bit of attention in the past couple of years. Known for his regular use of “swags” and “woops,” he frequently claims to be anyone who is surrounded by hoards of women or radiates positivity. He says he is Ellen DeGeneres, Miley Cyrus, Fabio, and God. His compulsive tweeting — some about fighting ant infestations in his home, others his blessings for the world, but mostly his way of just saying “hi” — are charming and uplifting. If you are a blessed, worthy soul, you may meet Lil’ B and BASEDGOD at the same time.

“Lil’ B is just joking around,” said Nick Shiles, another Rainy Dawg hip-hop DJ. “He’s not serious, and a lot of people take him seriously — if you take him seriously, the joke’s really on you.”

But that’s not to say Lil’ B is merely playing around — his purpose is clear, his moves are calculated, and his fan base is growing exponentially. After releasing several mix tapes and albums (many with titles inspired by flames and the rainbow), Lil’ B released his album “I’m Gay (I’m Happy),” which was noted by The Huffington Post, CNN, Rolling Stone, and a number of other acclaimed publications due to its title, resulting in several death threats toward the rapper. The album strayed from Lil’ B’s traditional approach and packed a powerful message: The more serious tone of “I’m Gay,” for a brief moment, reminded followers that Lil’ B is a capable artist with an underlying purpose.

“He knows what he’s doing,” Sepetov said. “He’s trying to get heads to turn. I think he was frustrated with people actually thinking he was [an untalented] rapper. He released an album that ended up on blogs and ‘best of the year’ lists.”

Whatever you’re into, it’s hard to ignore these swagged-out fame monsters. They utilize originality, break onto the scene, gain traction, and make sure they’re heard well after.

“In the end, I love a lot of these artists, simply because I don’t come from the world they came from,” Sepetov said. “And I honestly just find a lot of them to be funny.”

Whether you feel like these rappers are pushing the envelope or pushing your buttons, they’re having fun doing it. It’s a new phase, and it’s all a part of the innovative, love-hate culture that’s turning heads, breaking barriers, and amplifying the subjectivity of art.

Reach reporter Atoosa Moinzadeh at arts@dailyuw.com.