What color, what sound? Is it all the
same? Is it real? Who is doing it? Where you doing it? This is all justified by
the definition of Hip Hop. In this song by P-MAC he raises the question of how
one hears color. That is the question I want to ask all of you as well. We have
been talking for weeks about different types of people doing hip hop and what
their sound is or the message they provide or what they don’t provide. I love
this song because I feel that he proclaims that he wasn’t bestowed this talent
he learned it on his own.
“ Allow me to re introduce
myself My name is pmac, no space dash or period Don't mistake it because I'm
tired of it I started off at the bottom of the pyramid Then took my life by the
stering wheel and started steering it Up victory lane boy Yeah I'm untouchable
this ain't gameboy DS Oh I sound black? But how do you hear a color? Think
before you speak you ignorant motherfucker Ain't no one in the music biz tell
me what to do So I learned how to engineer rap and produce By myself Living the
fast life…”
As hiphops
founding generation began to lobby for intense scrutiny of what was considered
to be “real”. Hiphop artists did not simply represent a community or what was
real but, a brand and a product. Production crews began to focus on the “business”
and as a result, real life and real hip-hop became a culture for the younger
generations to follow. In this constant debate of what’s real and what is not, the
right to represent the hip hop nation has been substantiated by its members’
purchase and copying of recordings, memorization of rap lyrics, practice and
freestyle performance, loyalty to crews and individuals and participating in
some aspects of hiphops elements and in evaluation of artists skills. Long term
members, who are members that represent and protect hiphop and express a
commitment to its culture, bring forth the cypher. The cypher is unique in that
it is a true test of talent and artistry. The center of the cypher can be
occupied by MCS demanding an audience, competition and critical evaluation.
Cyphers are considered to be the heart of the underground because all styles,
values, norms, and beliefs of hiphop must come together in order for an MC to
represent. (Morgan, 2009) My question for all of you is, why is it that cyphers
or the art of free styling is given more credit towards what real hiphop
represents than actual written and refined lyrics?
Listening to music with one of my friends and I understand must of Justin Beiber's music is produce by Usher bu in a way I feel like he is trying to copy Usher's style instead of creating his own. You wonder in such ways, well he is copying his dance moves and his clothing style.
This is a video of Justin Beiber now compare it to Usher's
In this video Usher does not dance as much but you can compare and contrast both videos
Mathangi "Maya" Arulpragasam, or M.I.A., as we know her has held nothing back when it comes to expressing her Sri Lankan roots as an English musician and artist. Though she was born in England, her family moved to a town called Jaffna in northern Sri Lanka when she was an infant and her father founded the political activist group, Eelam Revolutionary Organisation of Students (EROS) in an attempt to end discrimination against the Tamils. Maya's childhood was shadowed by the poverty and violence resulting from the Sri Lankan Civil War and her family was forced to relocate to England as refugees when she was ten years old. Being raised during such insubordinate circumstances had to have ignited Maya's desire to be the face of a new culture of South Asians. Maya threw her energy and emotion into the arts and immersed herself in fashion, graphic design, and music. Her music floats across many genres, but M.I.A. is accepted as a hip hop artist. One of her songs that isn't quite as "hip hop" as the video is "Born Free."
This video was directed by Romain Gavras and depicts a world quite contradictory to the title of the track. American soldiers roll through an undisclosed city and barge into homes violently shooting and beating up civilians. They take red-heads captive and drive them out to an open field where they kill them. This is reflective of M.I.A.'s childhood in war-torn Sri Lanka and the red-heads as the oppressed group point out that in a world where anyone can be hated for their external characteristics or associating with a particular group means that anyone is subject to unnecessary violence. In this case, M.I.A. proves an excellent example of the logic of remix subculture. Sunaina Maira's "Identity Dub: The Paradoxes of an Indian American Youth Subculture (New York Mix)" referenced the Birmingham theorists' idea that youth cultures can resolve tensions and mediate between their expectations of immigrant parents and the mainstream culture that imposes itself on the youth. M.I.A. takes it further with "Born Free" by transcending mediation between Sri Lanka and England and stating that the specific groups don't matter. It is the oppression and hate resulting from refusal to accept different groups that needs to end in order for our world to continue to globalize peacefully, which was essentially the message from hip hop's roots.
During this past year's Super Bowl halftime show, M.I.A., dressed in a Cleopatra-like getup, made another bold statement by flipping off millions of viewers during the performance. It is unclear as to her motives behind the action. Did she forget a peace sign requires two fingers? As with many rappers, her "Fuck you" attitude concealing much deeper, political messaging in her art and music provides the shock value effect and has brought South Indian presence to the world of hip hop for better or for worse.
Aaron Zuckerman
is a producer from St. Louis; he goes to school in LA and has an ear for sick
ass beats. He produces for many underground artists that take his beats and rap
over them. This is a representation of youth and the real talent it takes to
survive in the hiphop genre.
Ain't nobody got more hunger than me, a frequent line in this track that calls to the on stage presence that these free style rappers need to have. A claim of dominance and a strenuous vocabulary, his beats are sick take a listen!
To the left is a picture of one of my favorite albums: "Black on Both Sides," by Mos Def. I was thinking about this album a bunch today, as I was listening to "Umi Says," (below.) Please play it while you are reading.
I think that he put his face on there to show that he is him and is always him. There is no other side. There is no "half-man half-amazing" element to him. There is just him.
This album represents that as well, as he flips the script with many of the songs on here. It shows that he does have changes in his mind and wants to talk about different topics, from tracks titled*: "Ms. Fat Booty," to "New World Water."
*The content of the songs is a different story, however; not as brash as they seem - they do get the point across, however.
I just wanted to know what you all think of the concept of this album cover. If you don't have any opinions. Stream this album. Please.
Referring back to the videos we watched in class I was wondering if Spanish hip hop has a similar view to the "blackness" we were discussing in class.
A few nights ago, I was invited to go to a hip hop concert. It was my good friend's younger brothers birthday gift, so I got a free ticket. I was excited about the show, but was pretty much indifferent to how the result would be as I know most of these events are rather anti-climatic. However, I took it as an opportunity to do some field research for class. The headlining artists were Curren$y and Big K.R.I.T, two artists that I think are fine but by no means would I go out of my way to see.
It was a relentlessly cold night in Chicago, and the show was set at Congress theatre, a once great but now deteriorating concert hall that looks like something out of the abandoned Detroit metropolis. Once inside, I realized the crowd wasn't quite what I expected. I expected to see alot of scenester white kids, which there were, but the majority of the crowd was actually hispanic and black.
The hottest DJs in Chicago were up on stage, playing all the current Chicago staples for everyone to listen to, Chief Keef, King Louie, and so on. In typical rap concert fashion, the doors opened at 7pm, and you had to face an endless army of upcoming artists before a hint of the headliner even emerged around 1am. (We ended up leaving frustrated after 5 hrs of openers w/o having seen the main acts).
The most interesting part of the night was the first act, however. It was a female MC who had charisma and was by herself. She was the only artist to perform alone on stage that night. She came onto the stage and asked who likes Young Chop, the hottest producer in Chicago at the moment. The crowd was still disinterested. Chop's "I Don't Like" beat began to blare and she started to do her own verse on top of it. She had the chops for it, but the crowd was clearly unimpressed. They threw up middle fingers, yeled 'boo!', and other mean things. They yelled "bring a skinny girl out!". It was too much for her and she left after just three tracks. I felt bad for her because it took guts to try and rap over the hottest beat, especially as an overweight, female, and asian MC. She wasn't the only one to get hate that night, however. Basically every act that night was booed and flicked off as people were restless to see the opener. Even Young Chop's new group, 8tmg, received no love from the crowd. Chicago truly hates everyone, even it's own stars. After about 15 spinoff acts of Chief Keef, we had had enough. But the last opener we saw got interesting. After being booed and hated on, an MC by the name of Paperboy confronted the crowd. "All you hatin' ass white boys get to the front so I can beat your ass, this is Chicago! Your own talent! The F*** is this!?!". After their set, they accompanied security into the crowd to harass a particular white boy who had flicked off everyone, accusing him of being a racist amongst other things.
We were bored with the antics, so we left. But it was quite the experience and I learned that Chicago does truly hate everyone, even it's own..
South Asian, Indian, or Desi music is a largely growing scene in New York City and many other metropolitan areas throughout the United States. Indian remix or Desi music is a fusion of hip hop, rap techno and reggae mixed with Hindi film music and Bhangra.
This Desi subculture can bring together participants from various different socioeconomic backgrounds. The subculture and music allows participants to transgress any racial gendered or class boundaries because many participants will sport the same kinds of clothing, use the same dialect, and attend the same parties but exist in very different socioeconomic classes.
Desi subculture provides second and third generation Indian-Americans with a space to express themselves by combining traditional indian music with american hip hop, drum and bass, and virtually any other genre Dj's decide they want to fuse. It allows these participants to make a space fully their own where they can combine pertinent aspects of their heritage and their identity as an american to create music that is completely unique.
Many forms of South Asian Hip-Hop exist, so it is important view numerous artists from different countries and backgrounds.
Iraj- When it comes to South Asian hip hop, Sri Lanka’s Iraj stands very tall. Iraj has many number one singles and a consecutive series of top ten hits. He has two number one albums “Chapter Two Aloke” and “Iraj.” Iraj has a Television show called “Da Iraj Show.” He was seen in London, Los Angeles, New York, Paris, Korea, and many other places for his sold out world tour. Iraj has become an icon for Sri Lanka and South Asian hip hop. While being seen and new and different, Iraj still falls into many of the sterotypes of hip hop. In the video tilted “Triuda” he and his posse rob a bank. They spend a good portion of the video running from the police and shooting handgun’s from their expensive cars and motorcycles. Iraj and his posse wear expensive clothing and blinged out jewelry as well.
Karmacy-
Karmacy is a desi rap crew made up of three members KB, Nimo, and Swap. They are known for combing driving bass lines and heavy percussion with cross-cultural beats that pay homage to the groups ethnic background. They include multilingual flows laced with vivid depictions of cultural themes and hardships the members face as they bridge the gap between Indian cultural themes and American ones. They say they create their music to allow listeners to challenge current thoughts and beliefs and also to provoke intense thought.
The song "Blood Brothers"provides listeners with the three members insights and struggles they face between american culture, hip hop, cultural family expectations, and many other unique struggles members face. On their facebook page, the group said "Blood Brothers" was among one of the first songs that helped allow their traditional Indian families to understand and respect the art the group strives to create.
When hearing this song what were the first things that came to mind?
Referencing the reading, were you able to draw clear distinctions between the culture/subcultures being sampled in the music?
Lowkey-
Lowkey is an English Iraqi hip hop artist. Although he is not necessarily South Asian, certain content in his music is very interesting to unpack. In this video for his song "Terrrorist" he speaks on a new aspect of racial prejudice and discrimination. The video is loaded with many war relating signs, blood, showing him as a prisoner etc. His production includes heavily sampled cultural music with driving hip-hop bass, and riviting cracks and rattles of the invigorating percussion.
…BUT, they're bringing us some throwback #heat. From the O.F. Tape, Vol.1
we have one of my
favorite tracks: “Bubble Gum.” The elements just appeal so much to me, from the
artists being youthful and just going for what they want, the album cover, the
lyrical content, the space-age beat, and the chorus from #YOUNGVEGGIES!
So
this starts of with Hodgy’s laugh and him coming in all smooth, letting people
know that his stage presence is second to none and he is about to get paid for
it, so come correct.
His cars should also define that for you, the cars that he
smokes weed in – weed with promethazine. He also has a chain on. Shiny material
items are what spark the youth!
I mean, who doesn’t like cars and jewelry. We all need means
of transportation and watches to tell time, correct?
Another line I really love is: “we don’t go to the club
n*gga we post at the bar; have conversations with girls that don’t know who we
are.”
-I remember getting into parties before I was of
age (usually 18+) and just stand there and try to talk to girls.
Then we have the chorus from Casey Veggies. He’s passionate
about this one, as he is an addict to this “dope” that is actually his music
that he has to “bag.” Since his crew is going hard, they’re going to “bag,” or
take over the rap game. After he bags it, with they’re stayle, they’re going to
stretch the rap game with their style. (“yeeeeeaaah, make it stretch like
bubble gum”) And the ladies will love it!
-What do you
think about the chorus?
After the first chorus, we have who my mother calls: “Tyler
The Creature.”
Slick Rick vv
He starts off with putting light skinned women over all
others, then creatively dismisses all of the men. Then he mentions a ruler and
“Slick Rick,” maybe another meaning? I am not sure.
Boom, then come women being referenced again, mentioning
hoes and garden tools – something in there seemed a bit dark to me, but it is
open to interpretation.
It then gets a bit more understandable with his skating
references and his complex brain – “steering paper planes” which is pretty dope
to me, especially since he doesn’t smoke – “paper planes” are usually
referenced to as joints.
Oh, “the white girls love [him]!” then he pulls the dark, inappropriate
card with the “without the lube” line. Maybe this is why my mom calls him the “creature.”
It’s funny how he’ll give disclaimers before rhymes,
specifically the last few bars: “and my right is right, my right is left, my
left is wrong – now b*tches throw your f**king bras off or ill rewrite my song”
-It’s like he’s confused, so he just throws stuff
out there? I’m not too sure.
Lastly, we have Hodgy coming back in. Or Alexander, because
he is “the great.” I rock with it; Hodgy and his duo-group: Mellowhype, with
his partner, Left Brain.
I heard money about three times within three bars, then a
reference to saving it. I’m not mad at that.
“I feel like I could fly without wings on my back.” Is that
teenager invincibility syndrome? I still feel like I can fly sometimes.
He also reinforces the “dope” or “crack” within the song. “This
is crack wit me but this crack aint wack” and how he is “making it stretch” and
“flipping [the rap game].”
I also love how at the end, he gives a number to call is
people are with their movement, it is almost like this is an infomercial. They
leave the beat going so you can think, then play the chorus to finally sell it
to you after you’d been contemplating.
If Odd Future has all of these elements of a “real” hip-hop
song, why are most of their fans white?
Also, for further visuals, check this out:
(TOP) Live video of “Bubble Gum”
(BOTTOM) One of Odd Futures
more controversial videos.
