And sure you could call them ambitionless, if your only measurement of success is commercial success. What value is there in entering the charts with virtually nothing of the artistic merits that people liked about you before you went national?Ĭhip calls out the entire grime scene by calling them "ambitionless," presumably because many of the MCs have never had chart hits. But deeper than that, it should make grime MCs ask how they can really expand their audiences without losing everything that made them move up the ranks. Another would be not to confuse grime's bravado with arrogance. Don't slag off the DJs, clubs, and promoters who got you where you are now would be the first lesson. There is thankfully one thing the scene has to thank Chipmunk for, and that's to bring into question how not to build a career out of the grime scene. He thinks our "favorite MC respects" him, but grime fans increasingly don't.
Without grime, Chipmunk would be looking for a day job after his A-Levels. As quick as he was to rush through grime to get to the charts, he barely had time to establish himself in the scene. His "mixtapes" got him noticed (they're essentially unmixed independent albums, but calling them "mixtapes" saves face) as did his mentorship by grime godfather Wiley. Now I'm conversating about charts! U don't have to like me, just respect my hustle!"īut no tweet seems to have annoyed more grime fans, DJs, and producers than: "Dj's that play just grime play 2 many wack ambitionless artist that I don't want my music played amongst! Explanation for my elevation!"Ĭhipmunk may be quick to distance himself from the grime scene, but it's one that put him where he is today. Understand that! Daaamn!", and "2 yrs ago I was on westwood show with wiley & ice kid. Alow it! There's no more eskimo dance or sidewinder! GROW UP!!! Times changed!!!", "Don't debate about the genre of music I make. Recent weeks have seen such gems and insights as "If you can't make a song and you claim your an artist. Chipmunk is a once-grime MC who- along with Dizzee Rascal, Tinchy Stryder, Wiley, Lethal B, Ms Bratt, and Boy Better Know- is among the recent successful UK chart onslaught. Chipmunk might have an appetite for commercial success but the MOBO winner also has a talent for alienating his fanbase. Twitter, by contrast, is far longer lasting. When grime MCs clash on air, things usually get pretty ugly, but air soon dissipates.
Social media presents all kinds of challenges to musicians, especially when they move from local star to chart succes.
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