Killer Mike and El-P ft. DJ Q-Bert - Pew Pew Pew

Killer Mike and El-P - A Christmas F*cking Miracle

25 Most Popular Pieces of Street Art in 2013

Here

G.A. - Blackout

find lyrics at the source below

source  via Friendly Atheist

Othello & the Hipknotics

*I may be wrong but I'm under the impression that Othello is a member of "Jehovah's witness". This is an album that fuses jazz and hip hop really well and Othello is a very good lyricist. The album, while enjoyable, makes you think whether Othello would place himself within the "Christian hip hop" category.

Stinkfish x ZAS in Colombia

more here

David De La Mano in Uruguay

more here

Feminist Graffiti in Bolivia

more here

Dede and Latzi in Tel Aviv

more here

Beastman x Vans the Omega Collaboration in New Zealand

here

Rappers and the Police 2000-2010

"After an analysis of a random sample of hip-hop songs released on platinum-selling albums between 2000 and 2010, Steinmetz and Henderson concluded that the main law enforcement-related themes in hip-hop are not pleasure and pride in aggressive and criminal acts, but the unfairness of the criminal justice system and the powerlessness felt by those targeted by it."

source

Roman Nun and Graffiti

read more here

DMX - Rudolph the Red-Nosed Reindeer

Escif (Valencia, Spain) - "Fast Food Is Not A Crime"

More on the 'Fast Food Is Not A Crime' series

Rakim's tribute to Mandela: 'Madiba'

Immortal Technique - Dance with the Devil

Atmosphere - God Loves Ugly

Jay-Z - Heaven

Boyz 'N the Hood (1991)

A-1 'Summertime Sadness' (2013)

Rick Ross ft. Stalley - Ten Jesus Pieces

Kanye West ft. Jay-Z - No Church in the Wild

Evolution of Hip-Hop music in Korea

Korean hip-hop can be said to have started in the early 90s with Seotaiji and Boys. This is really an important group that changed the face of Korean music. All of K-Pop can probably be traced back down to these guys. They first became influential in the early 90s and continued to have a significant impact on the Korean music scene as they introduced a stream of new genres into Korea.

Here, I'll just cover the decade from the early 90s to 2000-01 when Psy makes his debut. To be honest, I ceased to pay much attention after the 2000s. 


Although rap was around in the early 90s, I think hip-hop really took off with this song:

1992


they even rendered it in English:




 Kim Gun Mo also enters the scene in 1992
(though he would progress in a different direction musically):
 



In 1993, we see Deux:




In 1994, enter DJ Doc:




In 1995, Seotaiji and Boys bring in a form of gangster rap (mimicking Cypress Hill):




In 1997, after Seotaiji and Boys broke up, Yang Hyun Suk (YG) began setting up his own label. He subsequently introduced Jinusean:



We also see in 1997 the debut of Yoo Seung Jun:



Uptown also enters the scene this year:



*97 became the year when we begin to see Koreans raised in other countries - namely the U.S. - coming into Korea and making a splash on the music. This trend continues on throughout the rest of the 90s and into the 2000s.

Outside of this immigration, we also have Kim Jin Pyo (JP) who makes his solo debut in 97:



In 1998,
1TYM (the second group to go on board with YG):




JP releases his 2nd album in 98 and we get a glimpse of Drunken Tiger:




In 1999, Drunken Tiger splashes the scene. Tiger JK from this group along with Tasha from Uptown would go on to really be big figures for Korean hip-hop.




Honey Family also comes into the picture in 1999



In 2000-01, the infamous Psy makes his debut:






*there might be a few (Noize, Goofy, R.e.f, Turbo, H.O.T, G.O.D, and a few momentary groups like People Crew) I missed but I think I hit the pivotal figures who would go on to shape K-pop and Korean hip-hop. They do play with the border between boy-band k-pop group and hip-hop.

Tunisia: Klay BBJ and Weld EL 15

They received some attention in Foreign Policy after performing a song: 'Boulicia Kleb' (Police are Dogs).

Jerusalem: Broken Fingaz Crew

source

Game ft. Jadakiss, Styles P & AR-16 - Last Supper

According to Rap Radar this track was supposed to be on his last album 'Jesus Piece'.




Game talks about this album here

Sub-series: Religion and Hip-Hop

While this blog was initially setup to gather and collect data that could reflect a cyber-fieldwork for a "unofficial anthropology" of hip-hop (which will continue), I also want to begin a sub-series within this line of reasoning on the intersections of religion and hip-hop. I have already made a few blog posts that play on this interface but wanted to make a more conscientious focus on gathering representations within hip-hop culture that make this connection more explicit. Not only will I begin looking for this interface in music but in the other areas of hip-hop culture as well. Furthermore, there will also be an attempt to look for online discussions about this topic of religion and hip-hop.

The themes for this series will include the incorporation of religion in hip-hop culture, the incorporation of hip-hop in religious culture, and thirdly the question of whether we can consider hip-hop as a religion.

The series will be noted "religion and hip-hop" as a label to the posts (I will be going back adding this label), and hopefully I can keep it going.

Buenos Aires, Argentina: 'Description of the arrival of an ideology'

source

"Rick Ross"

It is not uncommon for rappers to adopt an alias and create a public name. In fact, most rappers have an alias. Another practice is to take on the name of a political figure. Tupac donned the name 'Makavelli' at one point and other members of the Outlawz also took on similar names: Napolean, E.D.I Mean, Kastro, Kadafi. Other rappers have taken names such as Jon Gotti and other famous past names of infamous gangsters.

Others take on a twist of their own name. One contemporary case is an interesting play on this practice of taking on an alias. Rick Ross. 



This is a name that could be his own. But in fact, the name is lifted directly from a big drug dealer in the 80s. If you've watched some of the documentaries about crack and hip hop, you will have come across the name Rick Ross. I haven't listened to much of the rapper Rick Ross but according to the real Rick Ross, the rapper has lifted much of the stories from the real Rick Ross who pushed crack cocaine and became a major king pin until he was arrested.

Read more about the real Rick Ross here:
http://noisey.vice.com/blog/freeway-rick-ross-autobiography-interview

Snoop Dogg ft. Dogg Pound - Santa Claus Goes Straight to the Ghetto

Foshan, China

source

Venezuela: Apache y Canserbero

"A music video made in Venezuela this year calls attention to a special kind of crime: corruption by Venezuelan police.

Two rappers who go by the names Apache and Canserbero show themselves driving a beat-up Lincoln, maybe from the 1970s. They're pulled over at a checkpoint by cops who want cash."

More here

Painting Melbourne

More info here

Tributes to Nelson Mandela

Source




source

Graffuturism

work by Poesia

The art of Graffiti is expanding in novel directions. Check out more at Graffuturism

In an interview @ Vandalog:

RJ: In one sentence, what makes someone a graffuturist?

Poesia: Most likely an artist with a graffiti background who has evolved and progressed beyond his initial roots.

RJ: I guess I always thought about Graffuturism as having to do with graffiti writers going in an abstract direction, but with this show you’ve included a lot of artists known for figurative works and made it clear in your artist statement that the movement isn’t purely about an abstract aesthetic. Can you go into a bit more detail on the similarities you see between say Sainer and Clemens Behr?

Poesia: Many people get this part of Graffuturism confused, but I feel it is because graffiti artists tend to move in a more abstract direction due to graffiti’s initial abstract nature. When compared to street art that already is more representational, Graffiti was and is an abstract form of art already. But we have to remember that graffiti has always used representational images cartoon characters etc since the early days of graffiiti, most the artists that were more inclined to paint representational or figurative work would get character or background duty on walls. Many of these talented artists never learned proper letters because they were always busy painting the backgrounds for the letter artists. One of the positive byproducts of Street Art was that now all these talented representational painters who had painted graffiti characters forever now saw that they could take center stage and create their own work without letters. This was an important evolution of graffiti and thus an artist like Sainer is just as an evolved graffiti artist as Clemens Behr who moved into a more abstract avenue of work. Both have this history that has evolved and thrived in a new age where painting whatever you like is possible without adhering to the traditional rules of graffiti. To me they are the same even if aesthetically polar opposites. The reason why Graffuturism is seen as an abstract movement is more due to the fact that there were more letterbased artists than figurative artists that have gone onto progress thus the surplus of abstract artists versus figurative ones.

Tokyo: "Goodbye Kitty"

More info here

Robot Boys from Denmark

N.W.A.

I'm not entirely sure, but my hunch is that N.W.A started the 'Gangster Rap' movement.

Straight Outta Compton (1988)

Monica Miller - "I Got 99 Problems but God Ain't One"

DJ Premier ft. Rakim, Nas, KRS-One - Classic

"What About Holy Hip Hop?"

Panelists are asked about their thoughts on reformed rap artists.



Their responses are quite revealing...
(if the image before clicking the video isn't foreshadow enough...)

Jay-Z and Nas

During the mid to late nineties and early two thousands, there were several major hitters in the game in NY. I wasn't there but I like to look into the history books. Just about the time when the "beef" between Tupac and Notorious B.I.G (Biggie) came to an end with their respective deaths in '96 and '97, New York's "Game of Thrones" (in the rap industry) was in the works.

At center stage was Jay-Z and Nas:

1997 Jay-Z  'Where I'm From'

*Apparently this track initiated tension with Prodigy from Mobb Deep

2001 Jay-Z  'Takeover'

*Aimed at Nas and Prodigy from Mobb Deep

2001 Nas  'H to the OMO' Stillmatic


2001 Nas 'Ether'



2001 Nas 'Got Urself a Gun'



2002 Jay-Z  'Supa Ugly'



2002 Jay-Z  'Blueprint 2'



2002 Nas 'Last Real Nigga Standin'



**Truce in 2006**

Nas ft. Jay-Z  'Black Republican'


Jay-Z ft. Nas 'Success'

The Story of the Wu-Tang Clan (2008)

FREEZE: DJ Shadow and Cut Chemist

2 Brilliant DJs together. Can't go wrong.

Cut Chemist

DJ Green Lantern mixing some Indian cuts

DJ Shadow: In Tune and On Time (Live)

DJ Shadow

Another one of the greats:

When graffiti artists are given a giant blank room

Video here:



Source

'The Show' (1995)

Public Enemy - Rebel without a Pause (1988)

Public Enemy - It Takes a Nation of Millions to Hold Us Back (Full album 1988)

BBC: Prophets of Rage (2011)

Jaz & Jay-Z - The Originator (1990)

Jay-Z has come a long way...

Hip Hop as a Social Movement: The f*** you mean 1995?

Back in August, there was an article that came out on the "evolution of hip hop", stating that it went from "party music to political platform".

The paper was to be presented at the American Sociological Association. I tried to get a copy but I never heard back from the researcher despite the ASA telling him of my request. 

Having not heard from the researcher, I'm just going to go off on what the article states. So, the researcher states:
“It [Hip Hop] started in the mid-1970s and the performers were primarily interested in entertaining and expressing themselves. By the early to mid-1990s performers began more consistently looking at hip-hop as a political opportunity with social movement implications.”

He states that it didn't become political until "1995":

"Callais uses 1995 as the turning point for this shift when hip-hop truly evolved into a platform for social movement. For his research, he interviewed 25 people involved with hip-hop before 1995 and 25 who joined the industry after. These included performers, writers, producers, and critics."

Personally, I find this dubious and would disagree whole-heartedly. I would argue that the birth of hip-hop was the birth of a political platform and social movement. That its origins were indeed political and socially oriented. The entertainment and joy was certainly there, but I would disagree that it became a political platform in '95.

Early on, hip-hop was a positive movement for the youth. Breakdancing and battling was the alternative to gang violence. Similarly the MC - born out of permission from the DJ - also took on this alternative to gang violence in the form of the cypher. Graffiti was an avenue to write. The DJ created the backbone for all this to happen by bringing people together. The acts themselves are already a social movement and a political platform. Bambaata argued for the four principles of hip-hop: Peace, Love, Unity and Having Fun. (it's evolved since then of course). In addition, hip-hop also spearheaded the 'Crack is Wack' movement. This is not just a coincidence and there is a good reason why hip-hop was such a part of it. The political platform began way before 1995. Hip-hop grew out of the extension from the marginalized and the influence of the Black Panters, Malcom X, Dr. Martin Luther King Jr., Marcus Garvey, and the Harlem Renaissance. Oddly, the researcher points to Grandmaster Flash's song 'The Message' but doesn't go further to consider that the hip-hop movement was already political by making social commentary.
 
The researcher agrees that: “musical participation in itself can be a social movement" but doesn't seem to consider this as a "political platform". Instead he wants to say that 1995 was the year. It seems the researcher's argument is born out of the mainstream exposure and the prevalence of 'gangster rap' at the time. I think this is misleading and outright incorrect to suggest that this was when it became a political platform for those who are taking and leading the movement today. IF his point of entry into this suggestion is 2Pac, I would argue that 2Pac was political way before 1995. 2Pac in his early years with the Digital Underground and his solo albums were very political in its social awareness and commentary to the people. While he was primarily addressing the African-American community, it was also a way of getting and talking to White America through music an rap. Its efficacy may be challenged because there are so many who block out what is being said when dialogue is mixed with cuss words. But nevertheless, 2Pac's early work is strong and revealing stuff. If you read his philosophy and book of poetry, 2Pac develops a philosophy that can be captured around the metaphor: "The rose that grew out of concrete". While I am no expert on Pac but simply a fan from early on, I would refer those interested to Michael Eric Dyson as he's researched and has written extensively on this. Furthermore, talking about 1995 dismisses KRS-One, Public Enemy, Run-DMC, Eric B. and Rakim, and many many others prior to the mid-90s.

To give credit and reservation, I do not know the researcher's definition of a "political platform" so I can't comment. But I think this research is extremely misleading to suggest that '95 was a turning point for "political opportunities" and a "social movement". I'd say these things were already happening. And for the researcher to make this argument and suggestion I think is revealing about how little he knows about the history and political context from which hip-hop was born. Mainstream rap is not a good index for the movement of hip-hop.

Hate "Graffiti"

Graffiti as a tool of opposition can be appropriated in any context - regardless of moral context. In a previous post, I posted an article on how graffiti has been used as a tool of political opposition in Egypt.

While graffiti began as "writing" and inner-city kids "bombing" their names on trains and walls of neighborhoods, it has also taken on ways to indicate "turf" or territory in certain areas. Graffiti was a way to represent one's neighbor-"hoods" and gangs. Graffiti can be said to have seen a shift from "bombing" trains to gang-affiliation and the delineation of groups.

One of the ugly extensions of this is the use of graffiti to convey and vocalize hate. The most recent example, which I only know because of the press coverage, is the racism tagged on a 13 year-old teenager's home in Massachusetts (article: here)

Simply typing in 'racist graffiti' in google images raises uncouth images targeting blacks, muslims, asians, and the promotion of nazi symbols and 'white power' fills the screen.

While it is easy to see the positive and glorified aspects of graffiti - its place in hip hop culture and its elevation as a style of art - the ugliness of hate-filled graffiti, and the negative stereotypes of all graffiti as gang-affiliated, is the ignored elephant in the room. 

early Tupac (2Pac)

(2Pac) Tupac Shakur: Thug Angel (2002)

PBS - Writings on the Wall: Before graffiti became a global language

Graffiti Culture exhibit running at 'Red Bull Studios' in New York

From PBS:

Graffiti culture sprung up in New York City during a time when funding was cut for the arts in public education. It morphed into an artistic expression that cultivated a foundation for future graphic and fashion designers, fine artists and logo creators. And though the art form has been associated with crimes of vandalism -- it even took center stage during New York City Mayor Rudy Giuliani's plan to revamp the city during the 1990s -- for Jenkins, and many of the friends he grew up with, graffiti was a written language that created a community on the fringes of New York.

"Media called it graffiti, but we called it writing. We were just writing our names in the beginning," said Jenkins.

"Write of Passage," co-curated with culture magazine Mass Appeal, runs at the Red Bull Studios at 218 W. 18th St., New York through Nov. 23. The space is open to the public from 1-5 p.m. on Saturdays.

Subway train, built by Ed Metalman Walker, on display at "Write of Passage."

Source 

BBC - Beat This: A Hip Hop History (1984)

For Britains

Breakin (1984)

Culture to pop culture

The Sugar Hill Gang - Rapper's Delight (1979)

Hip Hop turns 40

Missed this article from this past August but NPR put out an article in celebration of the birth of hip-hop:

"Today marks the 40th anniversary of the day Clive "" Campbell threw his first party in the function room of 1520 Sedgwick Ave in the South Bronx. While that Kool Herc back-to-school party marks the official beginnings of the global culture we call hip-hop, what the mainstream media at large now calls "hip-hop" is a far cry from the creative culture that emerged following the gang truce between the warring tribes of the South Bronx. When most people say "hip-hop" what they're actually talking about is rap. Even then, they're usually referring to mainstream rap music by rappers on major labels, which are currently experiencing what might be their overall low point in both quality and creativity. Rap was a force that united people, spoke truth to power and entertained at the same time. Now it exists almost solely to maintain the status quo and promote moneyed interests."

Read more here

Mr. Wiggles

Rock Steady

DJ Cheb I Sabbah

" If there was a disconnect in an Algerian Jew plugging into Hindu and Sufi Muslim spirituality, or in layering ragas with heavy beats, Cheb I Sabbah didn't see it. He used music to build the kind of world that he wanted to live in — and in so doing became godfather and mentor to generations of artists and listeners who found common ground on the dance floor."



Nov. 11, 2013 RIP
source

"How did graffiti become respectable?"

The article cited below provides a brief geneaology of graffiti without directly accounting for its origins or actual causes other than commercialization. It notes the key shifts of graffiti in Britain, primarily centered around the emergence of the now 'infamous' banksy.

The banksy phenomena that the author notes via commercialization and how the trend is to become famous through stencils and street art is captured well in the documentary 'Exit Through the Giftshop'. Kids are no longer "bombing" trains like they did in the 80s and 90s.

Sadly, this is as far as the author goes in providing reasons about why or how graffiti became respectable.
Cite

However, my contention would be that graffiti art is "respectable" and not "respectable". First we should not that in the article above "respectable" is "respectable to the public". While the author's narrative begins with bombing trains to Banksy and the commercialization, the article misses a HUGE gap in between.

To my limited understanding, graffiti made a huge move during the 80s where curators and gallery owners tried to capture the new wave of graffiti "street art" into the gallery. Putting it on canvas and so on. However, this initial wave soon diminished and graffiti artists went back to the streets and continued bombing. It simply did not achieve the same effect and bombers felt constrained by the art world. The streets were their canvas and that's where it was meant to be.The second shift, which I think is where graffiti and street art actually became "respected" in the public sphere is with Jean-Michel Basquiat - "SAMO". His career bloomed under the wings of Andy Warhol. Today an original Basquiat is worth quite a bit. And any artist, art historian, art collector, or art enthusiast will certainly tell you the value and impact Basquiat has had on the art world. You can look at a Basquiat in books but I'm told its true effect is really when you witness it in person.




So I think this is when the value of graffiti and "street art"and the third wave of placing tremendous value on a street artist is Banksy. Who we all know well. Whether we like it or not.

In large part, this renewed respect of graffiti in the second wave with Basquiat is really in the context of Andy Warhol and the popart movement. And within this context of commercialization and production art (which Damian Hurst has kind of championed) as well as the abstract asses who tried too hard (Pollock) who were also necessary for art, there is Basquiat who brought in a kind of raw expression. This contrast, I think (in my limited art history), brought respect to graffiti via Basquiat.

The third wave, as noted, with Banksy really got his fame through stencil and his humuor as well as his activism. This contrast really put Banksy on the map. Rich folk, celebrities, and other motherfuckers who have way too much money drooled. They saw the return of Basquiat in stencil form but with a social activist twist. The stencil in effect combined popart and graffiti. The loss or addition of value is up to debate. And with this kind of activism and expression on the street. The stencil became the tool for anybody to "bomb" the street without much skill in free-hand spraypainting. What's more: you can become an activist too! Put your own message out there! And look, the rich people LOVE Banksy. One of his pieces go for a lot of money. This is where the above article comes back into the foray. The commercialization of stencil street art. And correctly, many do commission street artists to paint their walls or stencil a piece here and there. Some get commissioned to do their own project. In this regard, the commission of graffiti became legitimate and an avenue of capital. This phenomena like I said is well presented in the "Banksy" documentary (which is not really about Banksy): 'Exit Through the Giftshop"



At the same time it is not respected in places where this commercialization and capitalization does not exist. Where a contemporary art gallery does not exist to the effect it does in western cultures. In other nations graffiti continues to remain an expression of the street, the people without voices, whether they are gangs or political idealogues of whatever variety but without a voice in power. In this context, graffiti is still shunned and not "respected". It is not accepted in the public sphere because it has not sold out, because it has not turned into a viable avenue of "art" and making money. The political expression of the streets and the people continue to be diss-"respected". In other words, it has yet to become capitalized. It remains a tool for opposition until then. Actually, even when it does - graffiti will continue to exist in the streets. I don't think it's ever going to go away. 

People without a voice are always going to "bomb" the walls.

A Million Street Bomb.

  

Immortal Technique

For those who don't know about 'Tech (born in Peru raised in Harlem) get at him - the following are from his 2nd album:







His 1st album (2001):




2nd album (2003):




3rd album (2008):




Compilation album (2011):

Clips from 'Art of Rap'

KRS-One teaching

Hip Hop Family Tree

source

'Proposed law would ban graffiti in Egypt'

"Egypt's Ministry of Local Development will present a draft law that would ban "abusive" graffiti on buildings across the country. If the law is passed, those found guilty could face a prison sentence of up to four years or a fine up to 100,000 Egyptian pounds ($14,516). Local Development Minister Adel Labib says neighbourhood committees have been formed to monitor graffiti.

Since the 2011 revolution, graffiti has become a popular way of displaying opposition. Yet some say, at times, it can overstep the line between art and vandalism."

Photo and text: Al Jazzera

"I got the whole world in my slang"

Anthropologist H. Samy Alim discusses how hip hop culture is changing the wor(l)d:

http://www.today.ucla.edu/portal/ut/h-samy-alim_hip-hop.aspx

De La Soul - 3 Feet High and Rising (1989)

From Dangerous Minds: 

"Nevertheless, a small handful of classic albums that mostly consist of samples did get made—and released—despite the best efforts of the music industry’s own legal eagles to strangle them in their crib. 3 Feet High and Rising is one of these records and considering that the samples come from Led Zeppelin, Michael Jackson, Jefferson Starship, Kraftwerk, The Turtles, Parliament, Otis Redding, James Brown, Barry White, Sly and the Family Stone, Johnny Cash, Steely Dan, The Bar-Kays, The Monkees, Cymande, even Liberace and Richard Pryor, it is something—like Paul’s Boutique—where it’s just a miracle that it even exists.

3 Feet High and Rising is one for the ages. The Village Voice dubbed it “The Sgt. Pepper of hip hop” and the good people of the Library of Congress evidently feel the same way as they inducted it into the National Recording Registry of culturally, historically, or aesthetically significant American creations in 2010. It’s an album that’s been included on practically every “of all time” list known to man."



Side 1
1) Intro
2) The Magic Number
3) Change In Speak
4) Cool Breeze On The Rocks
5) Can U Keep A Secret?
6) Jenifa Taught Me
7) Ghetto Thang
8) Transmitting Live From Mars
9) Eye Know
8) Take It Off
9) A Little Bit Of Soap
10) Tread Water

Side 2
1) Say No Go
2) Do As De La Does
3) Plug Tunin'
4) De La Orgee
5) Buddy
6) Description
7) My Myself And I
8) This Is A Recording 4 Living In A Full Time Era
9) I Can Do Anything
10) D.A.I.S.Y
11) Potholes In My Lawn

Al Jazeera covers Cuban rappers

Rap as a vehicle for protest in Cuba

source

Popin Pete

Boogaloo Sam

DJ Babu

5 Pointz: "The United Nations of Graffiti"

In New York

more images here

"It's the closest thing the world has to a graffiti museum. Standing in the loading docks at the center of a sprawling complex of disused warehouses in Long Island City, visitors can see a rotating collection of works by artists from France, Spain, Brazil – and, of course, New York."

Apparently on the verge of being destroyed...

Sapri, Italy

Source

Six City: China's Uighur minority find voice in hip-hop

"China’s Uighur minority, who hail from Xinjiang Autonomous Region, have struggled to retain their traditional culture in the face of widespread assimilation from the country’s Han majority. As Beijing has developed its western frontier through resettlement programs, many Uighurs feel they have become strangers in their own land; for instance, in Urumqi, the region’s sprawling capital, Uighurs now represent just 12 percent of the city’s population.

But in the city’s poorest districts, some Uighur youth have turned to a non-traditional outlet for maintaining cultural pride: hip-hop.  Since 2006, this home-grown rap and dance scene has drawn together thousands of Uighur fans across Xinjiang, and has even managed a feat the founders didn’t expect to achieve: attracting Han Chinese fans.

Ekrem, aka Zanjir, was the first Uighur rapper and a co-founder of Six City, Urumqi’s most popular rap collective, for which he now serves as producer and business manager. It’s a part-time gig.  In his spare time, he moonlights as a software developer, while other members of the collective drive hospital shuttles or work in traditional Uighur dance shows to make ends meet."

continue reading here

Invisble Skratch Piklz

Q-Bert, Mix Master Mike, Apollo

DJ Q-Bert

2009 @ DMC


2010

De La Soul - Itsoweezee (1996)

2013 DMC Champion: DJ Fly (France)

"Nah Son. Get the Fiji, Evian is Gross"

Michael Che on Gentrification



Cultural osmosis works the other way around too

Grandmaster Flash & The Furious Five - The Message (1982)

Beatboxers from around the world

Gathered at the 2009 'Beatbox Battle World Championship' in Berlin




The 2012 Final Battle in Berlin: Skiller (Bulgaria) v. Alem (France)

Rahzel

Rahzel, the 'Godfather of Noyze', is probably best known for his song 'If Your Mother Only Knew', which debuted as a hidden track in 1999 on his album 'Make the Music 2000'

Doug E. Fresh and the Beatbox

Doug E. Fresh in '86



The classic song 'La Di Da Di' first dropped in 1985





Doug E. Fresh and KRS-One in 2005 on Def Poetry

Rio De Janeiro, Brazil: The Favela Project

8 YEARS of HAAS & HAHN from Seven Halsema on Vimeo.

More about this project here

Korean-American Rappers

Started a brief search on a few contemporary Korean-American rappers. In part, prompted by a piece that came out on NPR about 'code switching' and Dumbfoundead - an up and coming underground artist. If you can listen to the NPR episode. But taking up the inclination to see what's been going around - I know some of these artists have gone on to Korea and some are working the industry in the States. Most of these songs are a bit old. But a good listen nonetheless.

The styles definitely range and you can definitely see their influences. They've come out of different geographical areas: Los Angeles, New York, Boston, Philadelphia, Seattle, etc. I'm positive that there are plenty more Korean-American rappers out there but this is what I could find and knew of at the time of this post. I've also skipped Korean-American rappers who've gone to Korea and put in work on the music scene in the 90s and early 2000s. There is one or two Korean-American rappers in the group 'Far East Movement', who have definitely broken into the mainstream - so I'm going to leave them out as they seem to be well-known.
 

Dumbfoundead



DFD got some recognition on NPR: here



Snacky Chan





Decipher and Manifest





Jupitersciples





FlowSik (from Aziatix)





Jay Park




Shogunna





 Gowe

Women of Korean hip hop

This list is a review of a more contemporary landscape and misses a huge figure in Korean hip hop in general.

Any list of rappers, let alone female rappers, in Korean hip hop has to include 윤미래 aka Tasha (T, Baby T, Lady T, Gemini). The person who made the video above obviously hasn't done his/her homework.

Coke La Rock

Nas ft. Lauryn Hill - If I Ruled the World (1996)

Styles of Dance

I've been thinking about how breakdancing (and other elements of hip hop) - when it first really started to take off in popular media - has been isolated, detached, extracted from the culture in which it originated. The previous post shows a contrast from 1984 to 2012 and how the artform itself has been refined and advanced in a discussion of its own.

Much like the study of cultures, it is possible to look only at the rituals and conduct analysis. Similarly, breakdancing has been separated and launched into its own platform as an art. Spurred by capitalistic motives and corporate desires for profit, breakdancing much like the other elements of hip hop (MCing/rapping, graffiti/street art, DJing) has been commodified and severed from its roots in which they originated. From this severence they have effectively become forms of art in which any body, any culture, can take and turn into their own. This is, on one hand, the beauty of what hip hop has done for the world, but on the other it has deprived the povershed neighborhoods in the boroughs of New York of its riches. Their ideas and cultures have been taken, commodified, capitalized, and stamped with a copyright by corporations while leaving the artists and the places of origin with very little. This is not an unfamiliar tactic. Disney is a classic example.

Despite the banality of vampires, cultures continue to remain creative. And breakdancing is no longer just breakdancing. It has not remained static - although it is easy to maintain that impression. New styles of dance have emerged from within the hip hop culture.

In any documentary or account of hip hop and breakdancing, it would be customary to discuss the origins of the b-boy and b-girl in New York (Bronx). Many of these crews are documented in various early 80s movies and documentaries; you can see an example below with the battle between NYC breakerz and Rock Steady in the movie Beat Street (1984). It would also be necessary to discuss the popping movement that came out of California along with its various styles.

But since then, a variety of other styles have emerged as well. Much has gone un-noticed outside of a momentary surge in media, random whatever television shows and movies, trying to showcase the dynamic styles marinating the streets today. Krumping became noticed with...I forget some dance crew tv show and other dance shows.

So given this background, I thought I'ld post a few videos of the various styles I've come across from random research on the internet. I'm sure I've missed a few styles and this is only an account from my own curiosity and investigation a few years ago. I can't attest to any accuracy of timeline or when it first came out but simply showcase the diversity. I will say that these styles have been out for a while now.

*NOTE: Before the styles below came out, there were several gang related dances with the Crips (C-Walk) and the Bloods (B-Walk), which I won't show here. But from what I understand with these styles, they are writing or tagging (a gang name) with their feet. So with the B-Walk you will see more spins. These styles, I believe, have actually been banned from California clubs due to their gang affiliation and what they represent. A good example of both styles is in the music video by X-Zibit, 'Get Your Walk On'. Also, there are influences from the Harlem Shake (before it became a ridiculous internet meme), which was first exposed to the mainstream with G-Dep's 'Let's Get It' music video 


So without further ado:


KRUMP (showcased in the 2005 documentary 'Rize')





And of course Krumping took with several years later as it became showcased on television - and Tight Eyez really became one of the representative figures to have some national exposure.Dude was even on Ellen.



JERK



This style got some exposure through a music video by Audio Push - Teach Me How to Jerk



DOUGIE



This style really took off with Cali Swag District's - Teach Me How to Dougie
And of course, you see a lot of public figures - celebrities, athletes, do the dougie.



HYPHY





TURF





MEMPHIS JOOKIN 



Lil Buck went on to do a piece with Yo-Yo Ma:





MEMPHIS BUCKIN





NEW ORLEANS BOUNCE





CHICKEN NOODLE SOUP



Now I'm sure there are more that have emerged since I did this research. I suppose this is really a taste of how culture can take off into new shapes and innovative forms. Not only does dance become a form of expressing personal identity, geographical and group identity in terms of group boundaries and an expansion to break and disrupt social boundaries by dancing in public. It is always, at a basic level, an expression of creativity and resilient fluidity of culture.  

It would be good to see the geographical origins in which dance styles and cultures come from benefit, empowered, and enriched from their creations. It really blows my mind how some of the boroughs of New York, and especially the South Bronx, can remain in such povershed conditions when they created, perhaps, the most capitalized culture and forms of art on a global scale. Shouldn't these areas in which these forms came from benefit from their creativity? I mean, the Bronx should be one of the richest neighborhoods in the world now.

In a way, these forms of dance blur the boundaries of what is "breakdancing". But in my view, I would include them. I don't see "breakdancing" as a static singular form of dance but one that can change and continuously evolve. Quite simply, different styles and ways of expression are coming out; they're grooving to a different break. 

2012 Semi-Final Battle: Massive Monkees (USA) v. Jinjo Crew (KOR)

NYC Breakers v. Rock Steady Crew

From the movie 'Beat Street' (1984)

1993 KRS-One: Return of the Boom-Bap

Tupac (2Pac) and Black Jesuz

 In Dr. Daniel Hodge's paper:
'No Church in the Wild: An Ontology of Hip Hop's Socio-Religious Discourse in Tupac's "Black Jesuz"'

He states, "The Church,as an institution, for Tupac and The Outlawz, is no different. In their estimation, if the cops beat you, schools lie to you, and systems fail you, why would the Church be any different?"
 ...

Quoting, African American studies and Hip Hop Scholar, Michael Eric Dyson:

"Black Jesus for Tupac meant for him that figure that identifies with the hurt, the downtrodden, and the downfallen. The Black Jesus is a new figure; both literally within the literary traditions of black response to suffering, but also religious responses to suffering. If this is the Black Jesus of history, it is the Jesus that has never been talked about and most people who talk about Jesus would never recognize." 

I can't attest to what most people who talk about Jesus understand about Jesus but I think both Hodge and Dyson are poignant to point out the push Tupac was trying to make in his appeal to "Black Jesuz"

Dyson talks more here:

 

Black Jesuz (1999)
 


Now that I'm on a Tupac tip, there are quite a few songs in which Tupac utilizes religious themes to make social and political points and commentary:


Holler if ya hear me (1993)


So Many Tears (1995)



I Wonder if Heaven Got a Ghetto (Posthumous;1997)



Only God Can Judge Me (1996)



Ghetto Gospel (2004)


And of course there are more by Tupac that plays on this: Hail Mary, Lord Knows, Death around the corner, Heaven ain't hard to find, and more.

Mix Master Mike (2004 in Amsterdam @ Melkweg)

Grandmaster Flash

From the movie Wild Style

Afrika Bambaataa - Planet Rock

Album, 'Planet Rock' was released in 1986


'Renegades of Funk' was released as a single in 1983

Herbie Hancock - Rockit

Featuring Grandmaster DST, who introduced the scratch to a popular audience



First released as a single in 1983

ChocQuib Town - De Donde Vengo Yo (Colombia)

Planet Rock

The Story of Hip Hop and the Crack Generation

James Brown

James Brown's music was paramount to the rise of hip hop

Women of Latin hip hop

"We want to eradicate education as a business, education should be a social right"

*Update (Nov. 6): The students and teachers of Chile are still fighting




In one song on her new album, called Bruja (Witch), Mala boast about turning 33. "I am 33," she raps. "The job of a man cannot be done by a boy." When I meet with her in Mexico City she explains the song. "Today, as a 34 -year-old woman, I have a lot more power than I did when I was 19. I know myself. I know my sexuality. I know my thoughts. And that reflects on my work." She says titled her album Bruja because she wanted to re-appropriate a pejorative. "I like 'witch' because it symbolizes women who have been historically vilified for doing positive or strong things." - NPR article linked below

NPR has a nice piece on the women of latin hip hop: here

Tupac (2Pac) - 1991 2pacalypse

1988 Erik B & Rakim - Follow the Leader

2nd & 3rd Banksy in NY

Track 'em here: http://www.banksyny.com/

"they learn to put barbeque sauce on it"

"Many other shows warrant mentioning here (e.g. MTV’s “Total Request Live,” “Yo! MTV Raps,” etc). What all of the above have in common is that their content is driven by the corporations, not the people. The truth is that “[w]hat we hear, see and read is only a fraction of what is produced and is owned by an ever-shrinking number of companies.⁷ 

Furthermore, despite their attempts to make these programs seem like cultural traditions (with anniversary and reunion shows, etc), they do not represent or reflect art produced for or by real people. The processes of musical selection and promotion have nothing to do with audience choice, and everything to do with corporate social control and agenda. DMX once said, 

“If you feed people dog shit long enough they will learn to put barbeque sauce on it.”

(*emphasis mine)

source 

Documentary on Graffiti: Infamy

Wild Style (1982)

Painting as Protest

Love this. After an older gentleman painted some stairs, the city went and painted over them - back to the grey color they were before. The people respond by picking up paintbrushes.

http://weburbanist.com/2013/09/29/painting-as-protest-rainbow-stairs-spark-guerilla-reaction/

Australian Graffiti

Street Art Blog

Introducing Vandalog

Almost forgot this one: Street Art Utopia

New Banksy in NYC

Tagged over in a few hours apparently

source

Graffiti Wars - Banksy v. Robbo

1995 Source Hip-Hop Music Awards

This is now a part of that history,
some might even say pivotal as gangster rap was hitting its stride.








Some material missed from this event:




After the show via 411:
Interview with Common
with Dr. Dre
and the Luniz


Snoop dogg on the 1995 Source Awards in 2013 interview with Sway


The 1995 Source Awards has also been considered to be The Day the Music Died


More on the source awards here

Methodology: Cyber-ethnography

With any anthropological account of anything, and any attempted science for that matter, has to include a methodology.

I've waited on this for quite a bit to consider the aim of this blog and how to go about it. In the context of hip-hop, given its history and wide-ranging global influence, much of what goes into an anthropology of hip-hop and its method requires some detailed explanation.

My first inclination was to simply post the diverse expressions of hip-hop culture on this blog. That is, post videos of music, break-dancing, dj-ing, and graffiti as it has taken on new forms of creativity across the world.

However, I don't think that this does an anthropology of hip-hop much justice. Only posting its diverse expressions would simply be scratching the surface. Because I think the history and the geneaology of this culture is important including the sociological context in which it has emerged, an anthropological account requires qualitative accounts, narratives, of those who have been around to see how the culture has changed and evolved. To this end, I've also decided to post interviews that are included in documentaries and as single video clips. Some documentaries provide a Marxist critique of the transition from hip-hop culture to a limited definition of hip-hop restricted to the domains of the rap industry. Others provide a more focused account of a single element like dj-ing or break-dancing.

Within the history of hip-hop, it is also important to note the social phenomena that have stemmed and/or simply associated with it. This includes the influence of gangs on the music industry, the influence of money, rivalries, the influence of drugs and the active criminalization of african-americans as well as latino-americans.

I'm sure more thoughts will arise on this issue of methodology but broadly construed, my aim has been around this idea of a Cyber-Ethnography by which there are now video resources of what happened at particular events, interviews, recordings, and much more that can capture what happened beyond a linguistic narrative account (although I will link to articles that contribute to the discussion as well). This subtracts the limitations of language from the ethnographer and displaces those limitations to the construction of the video material itself. That is, what the producer of that video decides to show. Being aware of this, I will do my best to find material that fills in gaps or try to discuss what's been excluded. This is a perennial problem of method, which is the the construction of putting one and one together; an active exercise in affirming one thing and suppressing another.

So with the idea of cyber-ethnography in mind, I'll continue to post with the aim of compiling material and with time perhaps provide commentary and analyses from my own, albeit limited, perspective. 

Questlove interview: 15 years

On hip-hop and the music industry over the years
Here

Kool Herc interview

Religion and Hip-Hop: 4 Principles of Hip-Hop

Peace

Love

Unity

Having Fun

Watch: What Ever Happened to Hip Hop
One of the more insightful documentaries on Hip-Hop I've seen

B-Boys in South Africa

Breaktionary Mix

DJ QBert

40 years of Hip Hop

La Tour Paris 13

'La Tour Paris 13'

1 building, 80 street artists.
30 days to check it out.
10 days to save it.

"The biggest collective exhibition of street art ever imagined." 

Open October 1 2013. 

More on: http://www.tourparis13.fr/#/en/home

Scratch (2001)

On the DJ

1987 KRS-One: Criminal Minded

What Ever Happened to Hip Hop? (2009)

KRS One on Philosophy and the origins of Hip Hop

MC v. Rapper

An initial attempt at this unofficial anthropology of hip hop

I've had a long standing interest in hip-hop beginning from the early and mid 90s. I remember doing extensive research on my own to learn more about it: tracked down documentaries, movies, and a few books albeit I could investigate a bit more and read more. But since then, I've learned quite a bit and still have more to learn.

So with re-emerging spark, ignited by some cool dudes over at Cuzco eats, I thought I'ld try to make an unofficial attempt at an 'Anthropology of Hip Hop. I'll briefly talk about the elements of hip-hop and its history - fully acknowledging that I am subject to correction. Noting that each element warrants its own book, I'll shift to a little anthropology of breakdancing in Korea. So if you're interested in breakdancing in Korea and how they've played with incorporating traditional elements with the break culture, as well as some awesome contemporary crews ('Morning of Owl' is just wow), I recommend you just jump down below to the videos.

In conclusion, the discussion will be about breakdancing as an art form and social expression, as well as the possibility of considering hip-hop as a religion.

Hip Hop, in broad terms, consists of four elements: the Disc Jockey (DJ), the Master of Ceremony (MC or 'emcee'), the breakdancer (break-boy, beat-boy, b-boy or break-girl, beat-girl, b-girl), and the graffiti artist. Not only do these elements compose art forms in their own right but also represent the embodiment of these art forms in persons, thus the title.

Many tend to link hip-hop with a particular fashion, but by and large fashion has nothing to do with hip-hop. This association is only because "it" was the fashion of those persons engaged in hip-hop. Hip-hop itself is not a fashion statement. I would definitely argue against those who think so."Hip-hop fashion" is only a by-product of "hip-hop" and you can observe, and probably measure, the trend from the '80s, '90s and 2000s. Many people have witnessed the change from "baggy pants" to "skinny jeans".

So each element has its own branch of history. But hip-hop begins with the DJ. The "father of hip-hop" is credited to DJ Kool Herc who revolutionized music by playing and repeating a single "break" in the song with two identical records. Kool Herc began in the early 70s playing block parties in the Bronx, New York aka "Boogie Down Bronx". During this time we see the Zulu Nation with Afrika Bambaattaa and the organization of community. A good overal glimpse and showcase of the early hip-hop culture on film are: 'Wild Style' (1982),  'Style Wars' (1983); Flashdance (1983) and Beat Street (1984). But a good documentary on specifically this history of the DJ, and the birth of scratch, a technique that added a whole new dimension to the DJ, is Scratch (2001)

From these videos we also see some of the early Graffiti culture. The art of "tagging" is certainly complex, rich, and with its own history and trajectory intertwining into mainstream art galleries ('Wild Style' comments on this) and being championed with Warhol's introduction of Basquiat. And even today, we are still seeing great work on the streets.  

The MC was the one who rhymed over the break and managed the crowd. S/he was the "Master of Ceremony". The Art of Rhyme (2000) and This is the Life (2008) are good documentaries that focus more on the art form and culture as opposed to its engulfment by capitalism. Most of the music we hear today is rap. The rapper (for me at least) is a term that represents a shift from the MC. This change is marked by the capitalist venture and the advancement of technology. The MC was initially an extension of the DJ. No MC was allowed to "rock the mic" until the DJ said so.  With the culture of capitalism finding a new marketable venture in the 70s and early 80s, the MCs left the DJs (not all, but many). Beat machines, drum machines, and computers replaced DJs. A consequence of technology and market (it would be nice to see turn-tables become a legitimate instrument). So labels did not want to incorporate and pay the DJ. When this market began, many MCs left behind their DJs for the label. Now we have the birth of the rapper. This distinction is now extended into one that marks this shift but maintains the existence of the MC, KRS-One says that the "MC is a representative of hip-hop culture, a rapper is a representative of corporate interest, an MC can be a rapper, but a rapper will never be an MC." Although DJs are certainly making big waves today in the music scence especially in the area of 'Electronic' music, which I include techno, house, remixes, and so on.

During this time of capitalizing on the music we also have the birth of the beat-boxer, who is a hybrid of the MC and the DJ. Although it is an art form in its own right, it doesn't quite have its own category. Not sure exactly but I would put my money on Doug E. Fresh, Fat Boys, maybe the beginning point for the Beatbox and public culture. Not sure, but then Rahzel... and now we have international competitions. 

The B-Boy or B-Girl was the title to those who danced to Kool Herc's music. They were break-dancers: break-boys and break-girls, beat-boys and beat-girls, b-boys and b-girls.You can see some of the earlier breakers in the films mentioned above. More recently, a documentary called Planet B-Boy (2007) came out covering the 2005 Battle of The Year (BOTY), which is an international breakdancing competition.

As I mentioned earlier, each element of hip-hop is rich and diverse. There is a tremendous amount of history contained in each element. Books could be devoted to just one. Any anthropology of hip-hop that would like to be comprehensive would have to cover the histories of each of these elements: where they began, where they were, the socio-economic and political climate, its ride in capitalism and the market culture, where they are now, and how different cultures around the world have adopted and made it into their own blend, etc. etc.

I couldn't possibly do all that here but would like to provide a jumpoff. Considering that this is a blog, it remains unofficial, a draft and like any work should be, open to corrections in information, dates, and persons.

Noting a phenomenon happening in Cuzco, with its own cosmos of culture, traditions, and identity, breakdancing is taking off. In the article, a member expresses ideas about fusing traditional and national facets of culture and identity with the medium of breakdancing. Not only is the name of the crew in Quechua but have taken on nicknames in their language as well. The idea they express about fusing traditional elements of dance, nicknames, and it would appear masks, into their breakdancing identity is interesting. I couldn't help but make connections with Korea. Noting that Cuzco is a city in Peru, 'Last for One' is a crew from a smaller city (JeonJu) in Korea and made it on a international scale.

What I would like to show are ways in which the traditional has fused with hip-hop (in this case, breakdancing). I can't say exactly when hip-hop came into Korea but my hunch is 'Seotaiji and Boys' from the early 90s was the group that made the biggest splash and revolutionized the atmosphere for "K-Pop".

So Gamblerz winning BOTY and then 'Last for One' in 05. And I'm sure there were probably other crews playing around with similar ideas. But after 'Last for One''s win in 2005, they gained a bunch of exposure and went on to do quite a bit of work for many stages. And one of the projects they did was this piece:

'Last for One' in a remix of Canon D:


 
*There's another version of this with two of the b-boys as well. For some reason, I'm not able to embed the video here. But check it out if you're interested.

Remixing Canon-D, props to the DJ (and the overal production), we have a traditional string instrument called the 'Gayageum', a beat-boxer on the mic, and b-boy Joe from 'Last for One'.

Not sure who, but there is a crew using the Canon D remix and performing at the Korean Folk Village:



As you can see one of the ways fusion has been occurring is with traditional dress and masks.

Here's another example of remixing some music and incorporating traditional dress, masks, and a theme of...the best way I can translate it is as "Trolls of the Night" or "Night Trolls". Certainly a different style from above:



And my last example is performing a contrast instead of fusing traditional and breakdancing- represented in the video below in the form of a battle. The traditional side is called 'Samulnori,' which consists of percussionists and depending on the style of group some acrobatic-type stuff.



These examples, are not meant to suggest that one caused the other or who was the first to do it, but rather highlight the ways in which they have integrated traditional Korean elements in a breakdancing capacity.

Examples of various ways expressing an imported artform with traditional and local elements of culture into a performance. The performance is now detached as 'art' in 'art' sense. In one direction, Koreans have explored and experimented with ways of integration and performance. In another direction, crews are playing around solely as a breakdancing crew.

The social and political conditions attached to the context and history in which the art came from and represented, are no longer associated. It is now a vehicle, a medium of expression.

2013: Morning of Owl Showcase

2013: Jinjo Showcase

2013: Morning of Owl vs. Drifterz battl

These are only a few, impressive, examples. What is incredible isn't necessarily the degree of skill (although this is amazing as well) but the face that something born out of a 70s culture from the Bronx has gone in 40 years to a massive influence around the world. And what we are seeing is the detachment of the culture from location and place. People are experimenting with its expression. And some examples I've presented here.

The detachment and globalization of hip-hop has transformed the advancement of art for art's sake - bridging creativity and skill to a particular medium of expression. 

What is exciting and simultaneously depressing is its potential for the people and the way it has been capitalized by the industry and labels. Taking art one step further in terms of political and social movement as a form of protest is, in contemporary society, tied to the idea of a flash mob. In the past, it was the mere expression of the culture on the streets that was the political platform. But as we can readily see, it has now been bastardized into simply entertainment, promotion, and marketing - which is not necessarily bad but the severence of roots is devastating. 


The idea of breakdancing, art, flash mob, and protest is explored here in 'Step up revolution'. In its typical generic fashion it's not something I would have paid two cents to, apart for my appreciation of bringing in creativity to a medium, i.e. I watched it for the dancing okay? But while I disagree with the aim of the characters I like the idea of a dancing protest.

(at 30 minutes into the film: performance art?)

Romantic and hollywood; yes, there is a ton of cheese and bad storyline. I will give kudos to the dancing and the idea, not the story, but the idea of using flash mob as a form of social protest. But this movie documents the failure in succombing to capitalistic pressures of subduction. It's hollywood. I recommend the watch but in a conscientious manner.

Hip-hop has come a long way. One index is Jay-Z: street hustler to major celebrity. And breakdancing is wonderful but there are lessons to be learned by which culture is usurped by money.