#mcing is an art form

[stylechronicles]

The Birthplace of a Cultural Revolution: Exploring the Origins of Hip-Hop and its Influence on Fashion

Welcome to our blog, where we embark on a journey to uncover the origins of hip-hop and its profound impact on both music and fashion. In this post, we delve into the birthplace of this cultural revolution, tracing its roots back to the vibrant streets of the South Bronx. We'll also explore the close connection between hip-hop fashion and street style, highlighting how the fashion choices of early hip-hop pioneers became intertwined with the very essence of the genre. So, let's rewind to the past and uncover the rich history that birthed hip-hop and shaped its unique sense of style.

The Birth of Hip-Hop:

Hip-hop emerged during the 1970s in the South Bronx, New York City, as a creative and expressive response to socio-economic challenges faced by African American and Latino communities. Its inception can be attributed to the fusion of various elements, including DJing, MCing (rapping), graffiti art, and, of course, dance. The neighborhoods became a breeding ground for innovation, and the streets served as the backdrop for this cultural movement.

Street Style and Self-Expression:

Hip-hop culture has always been rooted in individuality and self-expression. Early pioneers expressed their identity and creativity through their clothing, which laid the foundation for the iconic hip-hop fashion and street style we know today. In the face of limited resources, they repurposed and personalized clothing, creating their own unique looks that set them apart from mainstream fashion.

Influence of African and African American Aesthetics:

Hip-hop fashion draws inspiration from African and African American aesthetics, paying homage to cultural heritage and ancestral roots. Bold and vibrant colors, patterns, and prints reminiscent of traditional African garments found their way into the fashion choices of early hip-hop artists. This infusion of cultural elements became a defining feature of hip-hop fashion.

Rise of Sneaker Culture:

Sneakers have become synonymous with hip-hop fashion and street style. From Adidas to Nike, Puma to Converse, sneakers became a symbol of identity and status within the hip-hop community. The love for sneakers grew hand in hand with the rise of breakdancing and the need for functional footwear that could withstand the demands of dance battles and energetic moves.

Branding and Logomania:

Hip-hop fashion has a close relationship with branding and logos. As the genre gained popularity, artists started sporting clothing adorned with recognizable logos, transforming fashion into a form of self-promotion. Brands like FUBU, Karl Kani, and Sean John became synonymous with the hip-hop fashion movement, representing not just style but also entrepreneurial success within the community.

Influence on Mainstream Fashion:

Hip-hop's influence on fashion extends far beyond its grassroots beginnings. As the genre gained mainstream recognition, elements of hip-hop style started to influence high fashion runways, streetwear brands, and pop culture. Baggy pants, oversized hoodies, bucket hats, and gold chains all found their way into the fashion lexicon, transcending cultural boundaries and becoming iconic symbols of hip-hop style.

Conclusion:

Hip-hop's origin lies in the vibrant streets of the South Bronx, where a fusion of artistic expression gave birth to a cultural revolution. The fashion choices of early hip-hop pioneers became intertwined with the essence of the genre, fostering a unique street style that celebrated self-expression, cultural heritage, and individuality. Hip-hop fashion's influence on mainstream culture is a testament to its enduring power. From sneakers to branding, streetwear to logomania, hip-hop has left an indelible mark on the fashion world. So, whether you're donning a fresh pair of sneakers,rocking a statement logo, or embracing the vibrant colors and patterns of hip-hop fashion, remember that you're not just wearing clothes—you're paying homage to a cultural movement that continues to shape and redefine fashion as we know it. Let your fashion choices become a testament to the spirit of hip-hop, where individuality, creativity, and self-expression thrive.

[viadescioism]

One thing that I incorporated into my practice that I didn't see coming was the nine elements of Hip Hop. Which are laid out by KRS-One, in his song "9 Elements,":

Breakin': This refers to breakdancing, an energetic form of street dance that includes various moves such as spins, freezes, and power moves. (This is incorporated into my practices of Dance and my practices of martial arts as they are connected in my practice.)

Emceein': This is the art of MCing, or rapping. It involves the delivery of rhymes and wordplay over beats and is a key element in hip hop music. (This is connected to my practices of poetry, and language specifically how it is used with incantations when related to the Arskasa.)

Graffiti Art: Often simply known as graffiti, this element involves visual art, typically executed in public spaces, often with spray paint. It's considered a form of self-expression and rebellion against norms. (This is connected to my Sigil practice.)

Deejayin': DJing involves manipulating sounds and music on turntables to create new music. It's a fundamental aspect of hip hop, often providing the beats to which MCs rap. (This is connected to my practice of music magick.)

Beatboxin': This is the art of producing drum beats, rhythm, and musical sounds using one's mouth, lips, tongue, and voice. It's often used to accompany rappers in the absence of instrumental beats. (This is connected to my practice of music magick.)

Street Fashion: This element reflects the distinctive styles of clothing and accessories that originated from the hip hop culture, often characterized by items like oversized clothes, sneakers, and caps. (This is connected to my practice of cultural clothing for my tradition and how that is used to portray people style and express their skaknao.)

Street Language: This refers to the vernacular and slang that originate from hip hop culture and communities, often used in rap lyrics and everyday conversation. (This is again connected to my understanding of the Arskasa.)

Street Knowledge: This element encompasses the knowledge and awareness of the social, political, and economic realities that shape the urban experience and hip hop culture. (This is connected to my understandings of philosophy, rhetoric, and political involvement.)

Street Entrepreneurialism: This involves the business aspects of hip hop, such as starting independent record labels, promoting concerts, and other ventures that allow artists and others in the culture to earn a living from their craft. (so far this is more just connected to the hustle. Which we all have to do and it may be connect to money and career Magick.)

These elements are closely aligned with facets of my existing practice and have intersected with my philosophy, spirituality, or religious beliefs. However, they represent a comprehensive system that embraces all aspects of living in the world.

[checkthreetimes]

Hip-Hop: The Most Listened To Genre And Its Subgenres

Hip-hop is a cultural movement that emerged in the late 1970s in the Bronx, New York. It encompasses various elements such as rap, DJing, breakdancing, and graffiti art. Hip-hop music is characterized by rhythmic spoken words accompanied by beats, samples, and scratching. It's a music genre, a lifestyle, a language, and a way of expression. It has influenced many aspects of pop culture, such as fashion, film, television, sports, and politics. Hip-hop has also spawned many subgenres and styles over the years, reflecting its artists' and fans' diversity and creativity.

Popularity Around the World

Hip-hop is the most popular music genre in the United States and the United Kingdom. In 2021, hip-hop accounted for 27.64% of all music consumption in the U.S., measured by equivalent album units. It also dominated the on-demand streaming market, with 29.39% of all streams coming from this genre.

Hip-hop is also popular in other parts of the world, such as Canada, France, Germany, Japan and South Korea. According to Spotify, hip-hop is the most listened-to genre globally, with over 9 billion streams per month. Some of the most popular hip-hop artists worldwide include Drake, Eminem, Kanye West, Jay-Z and Kendrick Lamar.

Subgenres and Styles

Hip-hop has grown and changed over the past five decades. It encompasses a variety of styles and influences, some of which have become mainstream and some of which have remained underground. This article will explore some of the major subgenres and styles of hip-hop music.

Old-school hip-hop

Hip-hop music traces its roots back to the late 1970s and early 1980s, with its earliest form featuring basic drum beats, turntablism, and MCing. Notable pioneers of old-school hip-hop include Grandmaster Flash, Afrika Bambaataa, Kurtis Blow, and Run-DMC.

New-school hip-hop

The second wave of hip-hop music, known as the new-school hip-hop movement, surfaced in the mid-1980s and continued until the early 1990s. It brought forth a diverse and intricate collection of beats, lyrical styles, and influences from different musical genres, such as jazz, rock, and funk. The trailblazers of this genre include LL Cool J, Public Enemy, Beastie Boys, and N.W.A.

Golden age hip-hop

The late 1980s to early 1990s marked the golden age of hip-hop, a time when artistic quality and innovation flourished in the genre. This era showcased a range of sounds, themes, and techniques from various regions and subcultures, featuring legends such as Rakim, Big Daddy Kane, KRS-One, De La Soul, and A Tribe Called Quest.

Gangsta rap

During the late 1980s and early 1990s, a subgenre of hip-hop emerged, which dealt with themes like crime, violence, drugs, and social issues. This form of music was heavily influenced by the everyday struggles of people living in inner-city neighborhoods and often attracted controversy and criticism. Gangsta rap was pioneered by artists such as Ice-T, N.W.A., Snoop Dogg, and Tupac Shakur.

Alternative hip-hop

Alternative hip-hop is a subgenre that originated in the late 1980s and early 1990s. It aimed to challenge the traditional norms and conventions of mainstream hip-hop music by integrating elements from other genres like rock, jazz, soul, and folk. Some of the pioneers of this genre are De La Soul, A Tribe Called Quest, The Roots, and Outkast.

East Coast hip-hop

A regional style of hip-hop that originated in New York City and its surrounding areas. It is characterized by complex lyrics, storytelling skills, and sample-based production. Some of the icons of East Coast hip-hop include Nas, The Notorious B.I.G., Wu-Tang Clan, and Jay-Z.

West Coast hip-hop

A regional style of hip-hop that originated in Los Angeles and its surrounding areas. It is characterized by funky beats, synthesizers and gangsta rap themes. Some of the icons of West Coast hip-hop include Dr. Dre, Snoop Dogg, Tupac Shakur, and The Game.

Southern hip-hop

A regional style of hip-hop that originated in the Southern states of the U.S., such as Texas, Louisiana, Georgia and Florida. It is characterized by slow and heavy beats, chopped and screwed vocals, crunk energy and dirty south slang. Some of the icons of Southern hip-hop include Outkast, UGK, Scarface, Lil Wayne and T.I.

Midwest hip-hop

A regional style of hip-hop originated in the Midwestern states of the U.S., such as Illinois, Michigan, Minnesota, and Ohio. It is characterized by fast and complex flows, lyrical dexterity, and diverse influences from other genres such as soul, rock, and techno. Some of the icons of Midwest hip-hop include Eminem, Kanye West, Common, Bone Thugs-n-Harmony, and Tech N9ne.

Trap

A subgenre of hip-hop that emerged in the early 2000s in the Southern U.S., especially in Atlanta. It is characterized by hard-hitting drums, 808 bass, hi-hat rolls, and lyrics about drug dealing, crime and street life. Some of the pioneers of trap include T.I., Gucci Mane, Young Jeezy and Three 6 Mafia.

Conscious hip-hop

A subgenre of hip-hop that emerged in the late 1980s and early 1990s that focused on themes such as social justice, political awareness, spirituality and Afrocentrism. It was influenced by the civil rights movement, black nationalism and the teachings of Islam. Some of the innovators of conscious hip-hop include Public Enemy, KRS-One, Mos Def and Talib Kweli.

Mumble rap

A type of hip-hop that became popular in the mid-2010s is known as mumble rap. This subgenre features slurred or unintelligible vocals, simple beats, and memorable hooks. Some people criticize mumble rap for its lack of meaningful lyrics and technical ability. Notable artists in this category include Future, Lil Uzi Vert, Migos, and Lil Yachty.

These are just some of the main subgenres and styles of hip-hop music. Many more variations and hybrids exist within this rich and diverse genre. Hip-hop is constantly evolving and adapting to new trends and influences, making it one of the most exciting and influential forms of music in the world. Hip-hop has shaped and transformed the music industry and culture for decades. It has given voice to the marginalized, challenged the status quo, and inspired generations of artists and fans. Hip-hop celebrates creativity, innovation, and expression. And it's here to stay.

[pricek0202]

The distinction between Hip-Hop and rap:

Hip hop is a broader cultural movement that emerged in the Bronx in the 1970s, encompassing four main elements:

1. DJing – mixing and scratching records.

2. MCing (rapping) – delivering rhymes rhythmically over a beat.

3. Graffiti art – visual art associated with the hip hop movement.

4. Breakdancing – a form of dance that originated within the culture.

Rap, on the other hand, is a vocal style within hip hop, focused specifically on the rhythmic delivery of lyrics. In essence, rap is one of the components of the broader hip hop culture, but hip hop also includes other art forms and practices.

So, while all rap is hip hop, not all hip hop is rap. Hip hop is the culture, and rap is a musical expression within that culture.

[ciphercorner]

The Evolution of MC Rap: From Streets to Mainstream

The art of MCing, or rap, is a cultural movement that has transcended its origins on the streets to become a dominant force in mainstream music. MC rap has influenced fashion, language, and lifestyle, evolving from a form of expression for the marginalized to a global phenomenon. The journey of MC rap from the corners of urban neighborhoods to the top of the charts is a story of creativity,…

[bloggingproject]

A love letter to Rap music (Part 1)

I don’t think I can remember the very first time I’ve ever heard a Rap song. For as long as I can remember, Rap has been a part of me, as corny as that sounds. 

The sound, the culture, the feeling is indescribable. The rush when I finally rap one of my favorite verses correctly for the first time, or the “stank” face everybody makes when they hear a cold ass beat are things that are universal in the Hip Hop community, regardless of what subgenre or culture you belong to within the overarching culture. It's the things that the majority of people outside of the culture overlook whenever they observe, commentate, or even try to indulge in the culture surrounding Rap and Hip-Hop as a whole. 

Over the course of these next few blog posts, I want to talk about everything Hip Hop, encompassing the good, the bad, and the best of what the culture has to offer. 

The Good: 

One aspect about Hip Hop that has been lost to time nearly is its rather radical and revolutionary political ideologies. To give you a rundown, Hip Hop is composed of different elements: DJing, MCing, Breaking, Art, Poetry/Writing, and Self Conceptualization. The Self Conceptualization aspect is the one I want to focus on the most. 

This is a movement that was born on the coattails of the Black Panther party and only a little over a decade after the Civil Rights movement. Pretty much any and everything associated with Blackness was considered criminal, and Hip Hop was no different. 

Though it may not seem like it now, Hip Hop was a sort of counterculture in the same way that punk and goth is seen today. Whether it was  art, music, literature, and fashion, many people used numerous different forms of self expression to voice their distaste for the racist and capitalist systems that kept Black folks and other minorities oppressed. Looping this back around to the Self Conceptualization aspect of Hip Hop, it was also just a way for people to express their thoughts, feelings, and emotions in an artistic manner. 

When focusing on the music, many different classic artists and groups can be observed rapping about controversial topics in their music, with the most notorious examples being N.W.A, Public Enemy, 2Pac, and A Tribe Called Quest just to name a few. 

Along with being an excellent form of self expression, it also allowed for a sense of community and culture to exist for those who felt as if they���d had their culture stripped away from them. As an African American woman, myself along with many other AAs have always felt a sense of confusion and emptiness in regards to our culture. Very rarely is African American culture viewed as such because it is often appropriated in such mass that it just becomes American culture; the default. Growing up apart of Hip Hop culture, I was so used to it being seen as just another genre of music, or even worse, constantly being demonized by the media and general public. It was only until I grew much older that I realized just how influential Hip Hop has been in my life and I’m proud to say that it’s a part of my culture.

[lgchyun]

WORKSHOP 001 : year-end meeting solo COUNT : 1.2k

january would mark the beginning of his third year at legacy. he believed he has made a lot of progress so far, but knew that there was still a lot of growth to be had. he saw his friends and family achieving greatness, and he wanted to follow them. but, as a more seasoned trainee that he was at the beginning of the year, he knew there was still a long road before his coaches or he were confident enough to think about him debuting. walking into the meeting, he knew he would stay humble and talk about his growth so far.

what do you think are your strengths right now? ( please include at least 3 skills out of the ones suggested: singing, dancing, rapping, performance, acting, modeling, mcing/hosting, variety, music/lyric composition, instruments [ please specify ], and languages [ please specify ]. )

"firstly, dance. i've focused a lot of my energy at legacy growing my dance skills. it was i started training feel confident in and the training here at legacy has only grown that muscle, as well as allowing me to venture into the more creative aspects of dancing as well." he might mention choreography here, but that skill was only starting to be developed and he didn't want to get too ahead of himself.

"that goes hand in hand with my performance abilities, which would be my second strength. it's a natural part of dance, being able to have charisma and emotion to pull off dances well is important to the art form. i started at legacy a lot less confident in my performance skills than where i am now. i'm grateful to have been able to stand on so many stages during my time at legacy so far." he knew he still had room to grow in his performance skills and hoped that he would get even more opportunities to improve in the coming year.

"lastly, i would say modeling. this isn't a skill i was as passionate about when i first joined legacy, but it's an aspect of my training that i have come to really enjoy. it's helped to serve my stage performance and dancing well--these are all very physical skills that have worked together to help me grow as a performer. in a more personal way, learning more about the modeling industry and skills has also allowed me to connect with my mother more, which i'm eternally grateful for."

what are three skills that you would like to work on starting 2024? ( please include at least 3 skills out of the ones suggested: singing, dancing, rapping, performance, acting, modeling, mcing/hosting, variety, music/lyric composition, instruments [ please specify ], and languages [ please specify ]. 

"singing comes to mind first. i enjoy singing and have been able to grow that skill while at legacy. however, i think i can and should do better. dancing it just one aspect of performing--since i want to be an idol i have to be able to be a vocalist as well." he said simply. dancing was the more fun of the two, when he compared them, so it often took precedence. but before at the family concert, not being able to have a real voice on stage like the idols he watched, had made him really think about whether he was really able to debut. "i plan to put more energy and time into practicing singing."

he took a moment to think. singing was his most glaring weakness when it came to the skills that idol trainees focused on, but he knew there was more he could improve on. more he could do to show that he was committed to being an idol and would do whatever it took. "rapping is a skill i haven't focused on...really at all while here, unfortunately. i've always had a passion for singing, however, i want to be a versatile well-rounded idol. since i've been and will continue to be committed to dance, dancers often have to be flexible--literally and figuratively--so i aspire to be that. i hope that learning more about rap will help show that i'm committed to that goal."

"finally, acting is a skill i also want to develop more. it's something i haven't focused on as much while training here, but something else i really enjoy. i started performing in school plays and musicals--mostly musicals as a dancer--so i regret not continuing my pursuit of that skill. being able to participate in the project origin musical helped to remind me my love for acting. i also hope it will add to my performance skills. acting and emotion are important part of any kind of performing, not just the stage or film." he wanted to be able to act more and embrace his love for that stage again.

if given a chance, what types of gigs would you be interested in participating? ( please choose two out of the following and explain why: acting [ specify if it’s drama and/or musicals ], modeling [ cfs, endorsements ], mcing/hosting [ youtube shows/podcasts, red carpet/concerts ], variety [ variety shows, youtube shows/podcasts ]. )

"going with my strengths, i think modeling gigs would suit me well at this point in my career." was is bad for him to suggest modeling? would it come off to 'nepo baby' for him to suggest it. "it's something that i've seen trainees at the stage i'm at venture into before and often is a good jumping off point to get into other aspects of being an idol, while still being a trainee. it's also a skill i feel much more confident in this year, so if given the chance i would like to show off my abilities. are cfs an appropriate level to aim for right now?"

"while i do think more training and practice in acting would be helpful before fully diving into it, i would really enjoy more chances to play a part in musicals and other theater opportunities. to me, it's the most similar to performing as an idol. there is a live audience, singing and dancing--even rapping in some more modern musicals. being able to stand and perform on stage is what gets my blood pumping, so doing more of that would be...good? great? incredibly welcome." he finished, unsure of how to convey his message. he wanted to perform on stage, whatever avenue that took was fine with him.

during your time here in legacy, what are some of the lessons that you’ve learned about yourself? ( either as a person or as a performer/trainee )

"something i keep coming back to is the interconnectedness. firstly in skills, all of the skills and talents i've acquired and developed while here work together to influence my performances. there is also the connections between every moving part on and off stage to create the greater performance. i saw that the most in the family concert i was able to be apart of this year. i was just one small part of that grand machine." he reflected. it was a bit insane to him, being backstage and seeing everything that went into making the stages what they were. it reminded him of tagging along with his mom to photoshoots and meetings. "that's what being a performer is. sure, you might be the one getting all of the awards, your picture on magazines and bus stations, your name in the press--but there are so many moving parts and people behind every second of screen or stage time. knowing that and showing up and being the best you can is vital to making sure all of that work doesn't go to waste."

his coach informed him that all of the questions were answered and that he would have another meeting in january. "thank you for your time and guidance" he said and bowed, before he let the room to get back to work.

[dailyknowledgerecommendation]

Exploring the Birth and Influence of Hip Hop Culture

Hip hop culture, with its roots in African-American and Afro-Caribbean communities, has evolved into a global phenomenon that has had a profound impact on music, art, and entertainment. Its birth can be attributed to various key elements and pivotal moments that shaped its trajectory. This article aims to delve into the origins of hip hop, highlighting significant events, influencers, and the cultural context that contributed to its development. Additionally, we will explore how hip hop culture has influenced and continues to influence various forms of music, art, and entertainment.

I. The Birth of Hip Hop Culture:

A. Key Elements:

Music: Hip hop emerged as a cultural movement in the 1970s, primarily in the South Bronx, New York. It was influenced by diverse musical genres such as funk, soul, disco, and reggae, which laid the foundation for its unique sound.

MCing: Master of Ceremonies (MCing), also known as rapping, became a prominent element of hip hop culture. MCs used rhymes and rhythmic verses to express themselves and engage with audiences, often addressing social issues and personal experiences.

DJing: DJs played a crucial role in hip hop’s inception, utilizing turntables and mixing techniques to create new sounds. They were responsible for the rhythmic beats and instrumental backdrops that MCs would rap over.

Breakdancing: Breakdancing, or b-boying/b-girling, added a physical and visual element to hip hop culture. Dancers performed intricate and acrobatic moves, often incorporating improvisation and creativity.

B. Significant Events and Moments:

DJ Kool Herc: In the early 1970s, Jamaican-born DJ Kool Herc introduced innovative techniques, such as “breakbeat” DJing, where he extended the instrumental breaks in songs. This practice became the foundation for breakdancing and contributed to the birth of hip hop culture.

The Bronx Block Parties: DJ Kool Herc organized block parties in the South Bronx, bringing communities together through music and dance. These gatherings became a breeding ground for the early hip hop movement, fostering creativity, competition, and collaboration.

“Rapper’s Delight” and “The Message”: The release of Sugarhill Gang’s “Rapper’s Delight” in 1979 and Grandmaster Flash and The Furious Five’s “The Message” in 1982 marked significant milestones in hip hop’s mainstream breakthrough. These songs introduced hip hop to a wider audience, solidifying its place in popular music culture.

II. Geographical and Social Context:

A. The South Bronx:

Economic Challenges: The South Bronx faced socio-economic challenges in the 1970s, including poverty, unemployment, and neglect. These circumstances created a fertile ground for the emergence of hip hop as a means of expression and empowerment.

Community Resilience: Despite the adversity, the South Bronx community found solace and strength in hip hop culture. It provided an outlet for self-expression, creativity, and a sense of belonging.

B. Social Issues and Activism:

Racial Inequality: Hip hop culture emerged against the backdrop of racial inequality and socio-political tensions. It became a platform for artists to address issues of racial discrimination, police brutality, and social injustice.

Cultural Identity: Hip hop culture played a significant role in empowering marginalized communities, allowing them to assert their cultural identity and challenge societal stereotypes.

III. Early Influencers and Contributors:

A. DJs and Producers:

DJ Kool Herc: Often referred to as the “Father of Hip Hop,” DJ Kool Herc pioneered DJing techniques and set the stage for the hip hop movement.

Grandmaster Flash: Known for his technical prowess and innovation, Grandmaster Flash introduced groundbreaking DJ techniques, including backspinning and scratching.

B. MCs and Lyricists:

The Sugarhill Gang: Their hit song “Rapper’s Delight” brought hip hop to the mainstream, showcasing the art of MCing and rap.

Grandmaster Melle Mel: As a member of Grandmaster Flash and The Furious Five, Melle Mel’s powerful lyrics in “The Message” addressed social issues, laying the groundwork for socially conscious rap.

IV. Hip Hop’s Influence on Music, Art, and Entertainment:

A. Music:

Genre Fusion: Hip hop has influenced and been influenced by various music genres, leading to the creation of sub-genres such as rap rock, trap, and R&B-infused hip hop.

Mainstream Success: Hip hop artists have achieved remarkable success in the music industry, with numerous chart-topping hits, Grammy Awards, and global recognition.

B. Art and Fashion:

Graffiti Art: Graffiti, a visual element of hip hop culture, evolved into a respected art form, showcasing urban creativity and self-expression.

Fashion and Streetwear: Hip hop culture has had a significant impact on fashion, popularizing streetwear aesthetics, urban fashion trends, and brand collaborations.

C. Entertainment and Media:

Film and Television: Hip hop has inspired a multitude of movies and television shows, showcasing its culture, history, and artists.

Dance and Choreography: Hip hop dance styles, including breakdancing, have become popularized and integrated into mainstream dance culture.

Conclusion:

Hip hop culture emerged in the 1970s, blending musical influences, social context, and artistic expression to create a vibrant movement. The South Bronx’s economic challenges, combined with the creative contributions of DJs, MCs, and dancers, laid the foundation for hip hop’s birth. Its influence has extended beyond music, permeating art, fashion, and entertainment. Hip hop’s impact continues to shape and redefine various artistic forms, emphasizing its enduring cultural significance and global reach.

[aguycalledkwest]

If you happened to be in The Boogie Down Bronx on August 11, 1973, and you had a few quarters in your pocket, you may have become a witness to a world-changing event. At a Back to School Jam hosted in the rec room of his apartment complex, DJ Kool Herc, a teenage Jamaican immigrant, singularly invented a new art form that would evolve into a global phenomenon. By only playing the “break” — or the percussive dance sections of popular records — and using two turntables to create a loop of the instrumentals, Kool Herc gave birth to hip hop. Soon, this sound spread throughout the city and other DJs began to replicate his technique at their own parties. Afrika Bambaataa, Grand Wizard Theodore, and Grandmaster Flash were among those early pioneers who spun this idea into gold.

Herc and the other DJs were already “toasting” over the records they played. This tradition of talking rhythmically over the beat, encouraging partygoers to dance, and calling out their prowess as a DJ was commonplace. Often, an Emcee or MC would toast while a DJ spun and this partnership is what led to the invention of rap. Toasting was all improvisational “freestyling,” rapping brand new rhymes off the top of the head. Formalizing the toast into rhyming lyrics, creating more sophisticated sampling from existing songs, and adding new musical compositions ushered in a new era of music history.

Hip hop, however, has always been more than just music. Many early artists, especially Afrika Bambaataa and the Zulu Nation, saw it as a way to shift the culture, mitigate the gang wars, and provide an outlet for young Black and Brown people to express their frustrations with the wider socio-political climate in which they lived. The natural competition that existed between DJs, MCs, and B-Boys was more collaborative than adversarial and led to the creation of a complex and democratized culture where the only barrier between being the best was beating the best. The ingredients of this new culture, or what many historians call the “Pillars of Hip Hop,” were DJing, MCing, Break Dancing, Graffiti, and Knowledge of Self — meaning there were infinite ways to be a part of the movement, allowing for its rapid spread into mainstream culture.

Though the beginnings can be traced to that Jam in 1973, the first major rap record was released in 1980 and The Sugar Hill Gang’s Rapper’s Delight changed the game forever. Suddenly hip hop was not just for the rec rooms and gym jams — now it was for the radio, and very soon the revolution would be televised. Some of the early creators saw this as the downfall of the culture, worried that its spread would dilute its impact, but they could not foresee the way it would take over the music industry and ultimately influence the entire world. The DNA of hip hop has bled into fashion and beauty, film, dance styles, even sports, and other forms of entertainment and expression.

Many consider the Golden Age of Hip Hop to be the late 80s into the 90s. As it hit the mainstream, artists from other parts of the country began to put their own stamp on the art form, creating new sounds and distinct styles. West Coast rappers like Tupac Shakur, N.W.A., and Snoop Dogg, Southerners like Goodie Mob, OutKast, and DJ Screw, and Midwesterners like Slum Village, J Dilla, and Bone Thugs-N-Harmony made hip hop their own. As major music labels signed these and other artists a new era began ��� the era of the Hip Hop Mogul. In the late 90s and early 2000s, rap super-producers like Puff Daddy, Dr. Dre, and Jay-Z turned their music into multi-billion dollar enterprises. For many years, hip hop was the number one music genre in the world, overtaking even pop and rock. Though hip hop became commercialized, the original elements endure and evolve.

Hip hop music, culture, style, and art is an ever-shifting landscape that is rooted in region and perspective. Rap is about one’s periphery and that means that the identity of those participating in its culture is the bedrock on which a worldwide community is built. Hip hop is in many ways a performance, an attitude, a presentation of self — and perhaps one of the few fully democratized cultures which only survives off the strength of what its participants deem dope. Hip hop, in every context including the theater, is a collective experience meant to pull from the energy surrounding it and give the beauty it bears right back to the people. Almost 50 years after Kool Herc dropped the needle on the break of “Apache” by The Incredible Bongo Band his iconic toasts still signal the power and endurance of Hip Hop: “Yes, yes y’all and you don’t stop.”

[fireyourbosspresents]

Stop Saying Upstate New York.

I often run into people all over the city and elsewhere, and I'm interested to know where they're from. In fact I persist even in the face of a bit of resistance, out of sincere curiosity. For me, like many I imagine, New York City, and by extension the world is like a big ole pot of gumbo, and I'm interesting in its ingredients.

Particular I find to be the case of many I meet, who are from New York, but outside of the Boroughs, an unworthy of mentioning semi-sort-of inferiority complex, in regards their point of origin. However after a bit of prodding and pep-talking, they usually open and shoulder right up about their hometowns.

Of course, relatively speaking, with such a well and widely known big brother like New York City. Some feel their hailing understandably eclipsed by such a luminous city like The Big Apple. However there are many quaint and interesting cities, towns and villages etc., in New York, and throughout the country, world, and the seven or so seas.

So I find lumping them all into one juggernautical demarcation, as "Upstate New York" a colossal oversight. After all none of us can trace our roots for very long here in NYC. We are an amalgam, and in fact that is a major part of The City's acclaim, lore/lure, and identity.

Interestingly people who are from The Boroughs, with the exception of maybe Staten Island, have no reticence of specifying their neighborhood, nickname and all.

New York City attracts some of the most inspiring and aspiring minds and personalities from all over the world.

So don't be timid about your town, wherever it may be. And please, please stop saying just "Upstate New York. "That's a lot of ground to cover. New York ain't always proper.

[ihopeyoudiy]

Marvxlous now on BandZoogle too.

[toastyslayingbutter]

A Distorted History of Hip-Hop

One of my least favorite parts of the cultural recognition of hip-hop as a dominant force in music, art, and fashion has been the poor story-telling of its origins. From CNN to classes taught by KRS-One, the famous line thar hip-hop was “born in the South Bronx at a house party in 1973″ has been stated time and time again. The problem is that it's simply not true. 

While DJ Kool Herc certainly can be claimed as one of the godfathers of hip-hop, and was incredibly influential in its development and popularity - he was *not* the founder of what we know as hip-hop. In fact, it is poor form (both for cultural anthropologists and for casual hip-hop fans) to even try to pinpoint an *exact* date for the birth of hip-hop. Why is this? Because hip-hop is a Black American cultural product that developed haphazardly, it is tied to blue, soul, rock and roll, funk, jazz, and especially *disco,* and it came out of those genres slowly. Its four elements: (1) DJing; (2) MCing; (3) break dancing, and; (4) street art - all developed in tandem with, and independently from, each other. Claiming that they call came together at one time on a specific day is plain wrong and ahistorical. 

Take the song “Here Comes the Sheriff” by the musical artist, DJ, and comedian Pigmeat Markham: 

By every single metric this is a rap song, with a beat, chorus, three verses and a funk beat that sits in the same pocket as the break beats of contemporary hip-hop. It also came out in 1968. So how does it fit in with the current belief that hip-hop was born in the Bronx in 1973? It doesn’t. Its excluded. And it's not the only element or evolution that’s excluded. Other more popular and well-noted artists and groups are commonly excluded from the history of hip-hop, groups like The Last Poets, and artists like Gil Scott Heron and Disco King Mario. 

[masteckirecordsblog]

The History of Hip Hop

The History of Hip Hop

Hip hop is a musical genre that originated in the South Bronx section of New York City. It combines elements of African-American music with Jamaican styles to produce a sound that was uniquely it's own. Hip hop's origins can be traced back to the block parties DJs threw for their neighbors in the 1970s and 1980s, and it evolved out of breakdancing, graffiti art, MCing (rapping), DJing, and b-boying (break dancing). In many ways, hip hop has become an international cultural phenomenon.

Hip Hop is not just about being cool or wearing expensive clothes - it's also about having your say on important issues like racism and economic justice; or learning from people who are different from you, like women and kids; or giving a voice to people who don't have one. And hip hop is about cooperation with your crew, other artists, and even just random friends. In all these ways, hip hop has become the foundation of an ever-growing global culture. KRS1 (a famous rapper)

Many of you know hip hop, or at least the very popular form it takes in America. This kind of music uses sampling (using bits and pieces from old records), rhyming beat-boxing, and scratching. In its original form, it usually had a very strong beat but hardly any singing, with lyrics being spoken rather than sung. This type of hip hop is more about rapping than anything else.

The history of hip hop goes back to the late 1970s and early 1980s when block parties were popular in New York City's large Puerto Rican neighborhood (known as Spanish Harlem). At these parties, DJs would put together two funk and dance-type records containing little talking or singing. By playing the two records simultaneously and at different speeds, they could keep the beat of both songs going all by themselves. By putting on other records backward or at slower speeds, they could create new rhythms with their fingers that made it sound like an instrument was being played.

By 1979, DJs had begun to put together such a show using two turntables and a microphone. This show was called "MCing," or "rapping," and it became popular enough that in 1982 some people started making tapes of their shows so others could play them over and over again. Soon many different groups were doing "MCing," each with its own style, and in 1986 a group called Run D.M.C was the first to make a rap record that could be bought in stores. By giving people the chance to hear their music instead of just seeing it live, MCs built up an audience made up of thousands or even millions of people.

[womanlalaboy]

Ceaseman Seizing the Hip hop Scene

The time I spent going to places and meeting people is now the time I devote to binge eating, watching TV series, attending free webinars, and listening to music. I’ve been learning a lot more about our homeland and its people these days. Our rich history shows how much potential Filipinos have, but it’s such a waste that we’re taking that for granted.

We’re a melting pot of talents, and I can’t help but feel disappointed sometimes. Did you know that the first few countries in South East Asia to produce feature films include the Philippines? Oh, and we were the bomb in the industry! Did you know that there was a time when Filipinos were thought to be the best dancers in South East Asia? That we’re considered to be great singers? Oh, and did you know that the Philippines had the first hip hop scene in Asia? 

You read that right, the Philippines is sort of a hip hop pioneer in Asia. Currently, we associate hip hop with streetwear, graffiti, MCing, flip top, break dancing, YOLO, swag, and of course, rap music. It’s not always easy to the ears, unlike pop music. It’s deemed to be childish or immature sometimes. But it’s unapologetic, and it continues to impregnate new subsections like trap, lo-fi, drill, and many others. The scene itself is ever-evolving, and so are its artists. Our rappers are collaborating with musicians from other genres and artists of different forms- they are making bigger ripples in the industry or at least in their respective communities. One of these evolving and striving hip hop artists is Ceaseman.

THE ARTIST

Ceaseman is a 26 y/o rapper with a lot of titles under his belt. He recently released an album with 31 tracks, and it doesn’t seem like he’s slowing down any time soon.

The subliminal rapper is a member of the hip hop group Kaustik Route. Apart from that, he’s also a film writer/director. Ceaseman is the founder of PFK Collective, the drummer of a surf rock band called The Chingks, and he also represents GSIDE Records, RESBAK, INGAY LIKHA, and The Toymaker Productions. 

Life wasn’t exactly kind to Ceaseman. He’s a first-born child in a very conservative family and was expected to carry the responsibility as the breadwinner. But his father went missing, he was detained and eventually had to drop out. He has gone through failures after severing ties with his band back then in hopes of forming a new one among the many other misfortunes that happened in his life. He has seen and experienced a kind of world, not many people his age would have seen, and it’s evident in his compositions.

The variety of life’s horrors, pleasures, and rewards in his music reflects his life as an artist, as a Filipino, and as a man trying to live his life to its fullest. His comrades, Filipino arts and music scene made him feel the need to give everything he’s got to his craft and dreams.

Ceaseman sees himself as a “revolutionary artist” hoping to send messages through film and his music. He also believes that “that ignorance is a choice in the age of information and technology, “ so it’s expected that most of his songs tackle certain social issues that are particular in the Philippines. His bars aren’t always black and white. The lyrics would seem like provoking you to see different perspectives, which would sometimes require you to listen to it a couple more times.

What’s really amusing is his versatility as a musician. Before he became a rapper, he was first a drummer for a post-hardcore band. He also plays melodica as well as other percussion instruments. Ceaseman definitely has the ears for the beats. His skill for weaving words together developed from being an emcee, which requires someone to be quick-witted, interactive, and creative. Bring his musical inclination, life experiences, critical thinking, collaborative mindset, passion for the arts together with his wordplay and you got a recipe for a good hip hop artist.

THE ALBUM

On the 30th of October this year, Ceaseman released an album entitled “Carpe Omnia” which is currently available on Spotify, Youtube, Amazon, Itunes, Medianet, Tiktok, and other major music stores.

The title means “seize it all” following the theme of its precedent, “Carpe Deym” (carpe diem), which is the Latin translation for “seize the day.” The recently released album has 30 songs with a hidden track only available on the physical copy. The bonus track is in collaboration with two distinct figures in the hip hop scene and was recorded in Tondo, Manila.

Carpe Omnia will definitely take you on a ride with its variety of hip hop subsections. The jazz and lo-fi flavors, as well as the forgotten Tagalog words like ruweda (wheel), galugad (scouring for something), and bagwis (feathers), made the album refreshing and interesting. 

Ceaseman said that he wanted to overwhelm the hip hop community and hype up his comrades by releasing this many songs. It’s like a compensation to his 3-year hiatus, which he spent playing as a drummer for Roots and flowers and The Chingks.

“So technically, Carpe Omnia is 3 albums in one for the three years that I should have released a single album per year.“ 

Among the many songs in the album, Ceaseman particularly likes Bon Vivant, Onis, Avant Garde Bagwis sa Hawla, and the hidden track. I personally loved Bagwis sa Hawla, which I think is the most personal. This sounded like a narration of his life when he was just deciding to pursue his passion, choose himself, and leave their home to take a chance- like the story of most artists who have a family member that doesn’t believe in their passion or dreams. The other songs I keep playing on repeat are Para-paraan, G, J. Crapola, and Ruweda.

THE FUTURE

Despite the pandemic, Ceaseman is planning to release yet another album early next year, which he will be entitling “Carpe Vitam” or “seize the life.” 

Ceaseman said that he still has 4 albums worth of content in his creative bank, so there are definitely many possibilities for this young artist. He’s hoping to collaborate more with other artists, especially those that have greatly influenced his music. 

It seems like Ceaseman is already claiming 2021 to be his year as he’s planning to do an album tour for Carpe Omnia, and release music videos and a new single along with his comrades from the PFK Collective. Supporters should also expect live hip hop sets with a band real soon.

Even if we don't want to admit it, the standard has always been the Western's in the music industry. With the scope of their influence and the history we've shared with them, we sometimes can't help but work on their shadows. As much as we want to be proud to be Filipinos, to be an independent nation with a culture and history of our own, we can't seem to detach ourselves from the colonial influence. But artists like Ceaseman, who seemed to want to desperately get out of the mold and share as much of himself in his craft, is what's making the Pinoy hip hop scene really ours. Artists like him who strive in their respective fields, though sometimes shunned by their kin or fellow Filipinos, are the very people that are saving the Filipino creative industry. They make it feel as if it's not hopeless at all.

Hip hop is unapologetic, is critical of itself, is flexible, and is resilient- much like us, Filipinos. Pinoy hip hop may not fit the masses' interest like how western hip hop does- it may not be as dominating as K-pop. Still, there are definitely many Filipinos who are passionate about it and have the talent to pursue it. We just got to acknowledge that potential, really see them, and support them. And guess what? We don't need to do much. 

We just have to listen and let the beat flow.