Moreno Almeida, Cristina. (2017). Rap Beyond Resistance: Staging Power in Contemporary Morocco. Palgrave Macmillan.
This is episode 12 of the podcast, and the fourth and last in a series of episodes recorded live at the Trinity International Hip Hop Festival in Hartford, Connecticut. The festival took place the 6th to the 9th of April, 2017. This episode features a conversation with Mathurin Soubéiga, Continue reading “HHAP Episode 12: Burkinabe Rap Dialogue”
This is episode 11 of the podcast, and the third in a series of episodes recorded live at the Trinity International Hip Hop Festival in Hartford, Connecticut. The festival took place the 6th to the 9th of April, 2017. This episode is a conversation with Babaluku and Gilbert from Bavubuka Foundation in Kampala, Uganda. Continue reading “HHAP Episode 11: Bavubuka Foundation and Indigenous Hip Hop in Africa”
This post is dedicated to the comparison of two talented female emcees, from two different countries that share a first name. Nadia Nakai and Nadia Rose both speak on the fact that no one can step to them, whether lyrically or otherwise. With upbeat rhythms and fast rap patterns one could definitely draw a comparison between their styles of delivery and topic choice, however the visuals to accompany the video could not be more different. Nakai brought the b-girl aspect of hip hop to her video, whereas Rose’s Station is literally at a train station saying that she has the go. Station starts with a uptempo boom-bap pattern beat, and a song that would leave you understanding that she won’t be in the same position, space or even place as she is always on the go. Meanwhile, you cannot forget Nadia Nakai, nor can you get close to have the relentless flow that she professes to use throughout the track. Typical in Nakai fashion Nadia flaunts what she has and challenges anyone who thinks that they can step to her about it.
Meanwhile, Nadia Rose calls out fans who talk about her as if she wont talk about it to their face, and when they do reply they want to keep up and if it weren’t obvious at this point, they cannot. Even down to the more specifics of the beats that they decided to use for the songs are tough, as Nakai’s beat for Like Me sounds like a Swiss beats classic and, Rose’s beat selection sounded like a Neptune’s sound. The overall message trying to be conveyed as previously mentioned is that you cant step to these talented ladies with anything short of amazing. Both Femcees also defy the standard representation of what’s ladylike for an emcee, with the overaggressive crumping in Like Me, and to the aggressive styles in which she tells you that you can’t see her in Station.
Branco’s Turnt is what I would classify as a party song, as the song title suggests. While listening to the song I wanted to dance because of the contrast between a smooth and hard beat. Branco is direct in his lyrics and his message is plain and simple, he is living his life, working hard and making money.The style of the song reminds me of some of the mainstream hip hop in America, celebrating success. To my knowledge, many American hip hop artist come from a struggle or did not have the easiest life. It is very well possible that Branco is no different, as he raps about his daily llife of working hard and getting money.
Although the intent of the song was to be a “club banger”, I cannot dismiss the language used. Women were referred to as b*tches and vulgar language also had a strong presence. I am not attacking the artist’s word choice, as this is not uncommon in hip hop, but women are often objectified and sexualized in music and this song reinforces that. In this course, we discussed gender identity in hip hop as well as sexism . The culture of hiphop is the art of expression. The controversy surounding hip hop music relates to the lack of respect for women, the lack of concious art, as well as the presence of violence. In attemoting to disect the song, I got, live your life and care less about what others have to say. Turnt, put simply, was a song that was meant to be used to turn up and be care free. I think Branco did a pretty good job at tackling that. Because hip hop is an art for expression, the music you make should be represenative of what is important to you at the moment in addition to how you see the world. I think it is safe to assume that Branco is younger and therefore right now he is just enjoying life, as we all should. Stay Turnt!
“Turnt” – Branco
This is episode 10 of the podcast, and the second in a series of episodes recorded live at the Trinity International Hip Hop Festival in Hartford, Connecticut. The festival took place the 6th to the 9th of April, 2017. This episode was a panel titled “Independent and Political Hip Hop in Cuba” with Pedro Vidal of the Cuban Soul Foundation in Miami, Florida and hip hop artists David D Omni and Escuadron Patriota, who live in Cuba. The panel was an interesting discussion on hip hop and the state in Cuba.
Artist Profile: Graffiti Writer Behulum (Ethiopia) at the 12th Annual Trinity International Hip Hop Festival
Producer: Kalalea (www.kalalea.com)
*Special podcast episode recorded at the Trinity International Hip Hop Festival, by guest host Seth Markle and guest producer Kalalea
This Saturday (25 of March) is the 3rd anniversary of Lyricist Lounge in Dar es Salaam. Lyricist Lounge celebrates 3 years of spoken word, poetry, and lyricism by bringing to the stage a lineup of international MCs, poets, and DJs.
This year features some of the finest poets & MCs in TZ, including MCs like Mukimala from Wanaitwa Uhuru and Wakazi.
This year there will also be a set by DJ Kaka Kahlil, by way of California & Puerto Rico. LL will also feature legendary NYC graffiti artist Kool Koor. You can see more of Koor’s work at http://koolkoor.wix.com.