Conclusion

    The underground hip hop scene which is now booming all across the UK came out of innovation.  With a historical resistance to sample based music in the UK, it is difficult for hip hop artists to penetrate the corporate music industry.  This difficulty is not however unique to the UK.  While hip hop is generally excepted within the popular culture of both Canada and the USA, there remain many other underground music, art, and fashion cultures within society at large.  It is no secret that the established industries of music, fine art, and film, among others, are incredibly difficult to gain access to as a producer of culture.  This is causing more and more independent cultural producers to turn to other means of creating.
    Hip hop culture producers in the UK, whether they be rappers, videographers, or even fans, are pioneering the way to a new age of cultural production.  If independent artists prove able to sustain a flow and exchange of cultural capital that they can then turn into economic capital, than they could be the beginning of a new generation of cultural producers.  Both Raymond Williams and John Fiske discuss production as being essential to understanding culture.  Perhaps this generational shift in the understanding and practice of cultural production will result in the development and evolution of a society with a new hierarchy of cultural values.