Cultura Hip Hop


Ce reprezinta turntablism-ul in Romania si ce reprezinta el peste granite. Cum vezi tu diferenta? Dar viitorul?

Moderatori: Jeg, ANT

Avatar utilizator

Most Valuable Player
Most Valuable Player

Mesaje: 60

Membru din: Lun Mar 29, 2010 7:59 pm

Localitate: http://www.schrabeat.com

Mesaj Lun Mar 29, 2010 8:16 pm

Cultura Hip Hop

,,Cand am facut hip-hop-ul l-am facut sperand ca va fi vorba despre pace, iubire, unitate si distractie, astfel incat lumea sa poata evada din negativitatea care afecteaza strazile noastre. Chiar daca aceasta negativitate inca mai exista, in timp ce cultura progreseaza, noi jucam un rol important in rezolvarea conflictelor si promovarea lucrurilor pozitive” Afrika Bambaataa. Un DJ nu doar pune muzica. Asemeni unui dirijor care indruma o orchestra, indica intrarea fiecarui instrument, nuantele, masura, dand instrumentistilor o anumita stare de spirit in functie de melodia interpretata, un DJ asociaza fiecare sunet cu o anumita traire si un anumit sentiment, pentru a crea o armonie. El pune toate sunetele la un loc, exact cum sunt adunate toate instrumentele in orchestra. Hip-hop-ul a fost creat pentru a aduce pace, iubire, unitate si distractie. Un DJ, prin perfectiunea corelarii sunetelor, trebuie sa atraga lumea la o gandire pozitiva. In loc de bataile pe strada, de crime si alte acte violente, oamenii au inceput, dupa crearea hip-hop-ului, sa se lupte in battle-uri muzicale, prin grafitti, prin rap sau breakdance. Acestia nu mai era precum animalele (lupta corp la corp), adoptand atitudini creative si culturale. Hip-hop-ul nu este un gen de muzica ci o intreaga cultura, un stil de viata care nu trebuie perceput gresit. Lumea, cel putin in Romania, a perceput gresit acest stil de viata, aceasta cultura. Noi, ca pasionati si iubitori al acestui stil de viata, cred ca trebuie sa incepem sa explicam oamenilor ce inseamna Hip-hop si cu ce scop a fost el creat. Daca lumea intelege miscare, poate ca adeptii acestui stil nu vor mai fi priviti cu ura pe strada sau considerati inferiori. Tocmai pentru ca miscarea hip-hop este perceputa gresit am decis sa deschid o campanie (deocamdata doar online), prin care sper ca fiecare adept al acestei culturi sa inteleaga necesitatea de a explica oamenilor ceea ce inseamna. Voi pune la dispozitie cateva articole, cateva link-uri unde va puteti documenta despre istoria hip-hop, despre aceasta cultura si sper ca fiecare sa explice, macar in jurul familiei, ce inseamna acest stil de viata.
Avatar utilizator

Drepti! Inainte mars!
Drepti! Inainte mars!

Mesaje: 388

Membru din: Mar Mar 30, 2010 11:58 am

Localitate: All over the world

Mesaj Mar Apr 27, 2010 11:52 pm

Teoria pantalonului larg

Teoria Pantalonului Larg


Cititorule, inante sa critici parcurge cu atentie textul ce urmeaza! O carte nu se judeca dupa coperti asa cum articolul de fata nu se judeca dupa titlu, ci dupa continut. E vorba de cateva sesizari dupa o lunga si directa observatie a atitudinii unor semeni de-ai nostri. Ceea ce se vroia a fi un articol sarcastic a devenit unul pe cat se poate de serios si plin de talc. Desi are nuanta unui atac la persoana el nu este decat o opinie. Lectura cat mai atenta si placuta!

Nu sunt multi cei care cunosc povestea pantalonilor largi, cu renumitul si mult criticatul lor tur. E interesanta si pe alocuri pilduitoare.

The black people au suferit mult din cauza prejudecatilor si a urei rasiale, de la exploatarea inumana pana la amplificarea celor mai mici greseli si pedepsirea aspra si nedreapta pe care au suferit-o in trecut; ba chiar si astazi se mai aplica un astfel de tratament. Asa se face ca acestia aveau inchisori special amenajate cu o politica spartana. Cei inchisi aici aveau de indurat munci silnice si pedepse crunte. Ajunsi la limita disperarii, multi dintre ei se spanzurau in celule cu bretelele de la pantaloni. Astfel de incidente se intamplau sistematic. In consecinta, conducerile inchisorilor au hotarat sa nu li se mai dea bretele, iar pantalonii aveau de acum turul lasat. In spirit de solidaritate pentru fratii lor inchisi, dar si ca forma de protest impotriva regimului auster si injust, cei ce erau in libertate au inceput sa poarte pantalonii intr-o maniera asemanatoare. In timp, ei au devenit un fel de uniforma a soldatilor miscarii hip-hop, dar in prezent, constat din ce in ce mai mult ca au devenit o moda, ceva ce e privit ca tinand strict de imagine, o buna vestimentatie pentru a atrage fetele vesele. Only shit!!!

Tinereii cu personalitatea in rate, care ziua sunt “underi”, iar noaptea se unduiesc pe boxa din club dupa ritmurile gretoase ale manelelor promovate abuziv, nu fac altceva decat sa defaimeze si sa prejudicieze, in general miscarea hip-hop autohtona, si in special pe cei care o sustin, fie ca doar asculta, canta ori sunt aleargati de politie pentru ca arta urbana nu este apreciata.

Vorbind de cultura geniala si de lexicul acestor mari fuckeri ce cred ca hip-hop-ul se rezuma la cateva trupe consacrate, fara insa a le cunoaste evolutia si lupta pe care au dus-o pana ce si-au castigat bine-meritata titulatura de “trupa de mainstream”, nu poti auzi decat un bombastic “yeeeeaah” ori un ridicol “yo”, indiferent de contextul in care se afla. E un fel de tic verbal care se alatura unor sintagme extra-patetice foarte des uzitate, gen: “Ce faci fetele?” ori “Moaaarfa bai!!”, si sa nu uitam de clasicele cuvinte folosite cu o turatie de 20 de ori pe minut: “p**a” si “cacat”.

Mergand pe firul psihologiei, ultimul cuvant amintit sintetizeaza valoarea lor ca oameni intr-o societate, un fel de exteriorizare a respectului de sine venita din subconstientul lor. Si totul nu ar fi chiar atat de deranjant daca acestia ar avea un miraculos si rarisim moment de luciditate si ar exclama privindu-se intr-o oglinda: “Moama, nu stiam cat sunt de penibil!”. Insa asa ceva nu prea se intampla si ar fi bine sa ma parchez din nou pe Terra si sa nu mai visez la o sclipire morala din partea lor.

Fara echivoc, orizontul acestora de cunoastere e la fel de inchis ca si carcasa cd-ului propaspat piratat din nesimtire, prostie si/sau inconstienta, imbracate frumos de pretextul “lipsei banilor”. Dar acum imi permit sa spun ca daca ai posibilitatea materiala sa fii conectat la internet si implicit sa descarci melodii peste melodii pe care le gasesti si la un magazin de specialitate si la taraba la care vinde nenea Gigel de la scara B, atunci nu ai tu oare cativa lei din astia mai grei sa-ti cumperi muzica in original? Ba da! Dar e mult mai simplu asa. “De ce sa ma gandsc oare daca ii afectez aluia care imi incanta mie auzul, evolutia profesionala?”. O mentalitate proasta si, din pacate, adanc inradacinata, cu minime posibiltati de schimbare.

O ultima chestiune, ce incoroneaza totul: nu o pereche de baggy pants si niste casti te fac raper. Puterea mentala, capacitatea de a filtra si intelege mesajul transmis, asta este esenta! Hip-hop-ul este inainte de orice o stare de spirit si un mod de viata.

Daca, din intamplare, te-ai regasit in randurile de mai sus si acestea nu ti-au trezit constiinta de mult adormita, asculta aici: Stai jos si schimba domeniul muzical cat mai repede posibil! Iar daca ai colegi, amici ori cunoscuti care se incadereaza in tiparul prezentat, recomanda-le articolul si poate ca se va schimba ceva in lumea lor.

Cititorule, a venit vremea sa iti multumesc pentru ca ai avut rabdare si ca ai lecturat cele ce am scris. Acum, Tu esti in masura sa tragi o concluzie, in baza cugetarilor de mai sus si a propriilor viziuni. Cine stie, poate optica noastra e diferita sau poate e mult mai asemanatoare decat credeai la inceput…

Fie ca esti sau nu de acord cu mine am un lucru complicat de simplu sa-ti spun: Pace!
www.myspace.com/omucudisc
facebook.com/djSfera
Imagine
Avatar utilizator

Drepti! Inainte mars!
Drepti! Inainte mars!

Mesaje: 388

Membru din: Mar Mar 30, 2010 11:58 am

Localitate: All over the world

Mesaj Mar Apr 27, 2010 11:59 pm

Turntablism

E pe engleza deoarece este o istorie lunga si imresionanta.
Prea mult de tradus 8-)

Turntablism is the art of manipulating sounds and creating music using phonograph turntables or digital turntables and a DJ mixer. The word 'turntablist' was coined in 1995 by DJ Babu[1] to describe the difference between a DJ who just plays records, and one who performs by touching and moving the records, stylus and mixer to manipulate sound. The new term co-occurred with a resurgence of the art of hip hop style DJing in the 1990s.

John Oswald described the art: "A phonograph in the hands of a 'hiphop/scratch' artist who plays a record like an electronic washboard with a phonographic needle as a plectrum, produces sounds which are unique and not reproduced -- the record player becomes a musical instrument."
Hip-hop turntablist DJs use turntable techniques like beat mixing/matching, scratching, and beat juggling. Some turntablists seek to have themselves recognized as legitimate musicians capable of interacting and improvising with other performers. Some focus on turntable technique while others craft intricate compositions by focusing on mixing.

History
This is the history of turntablism, a term most often used for contemporary DJs. The passages on their old school hip hop predecessors only focus on the relevant artistic contributions.

Precursors
The history of the turntable being used as a musical instrument has its roots dating back to the 1930s, 1940s and 1950s when musique concrète and other experimental composers (such as John Cage and Pierre Schaeffer), used them in a manner similar to that of today's producers and DJs, by essentially sampling and creating music that was entirely produced by the turntable. Cage's "Imaginary Landscape No. 1" (1939) is composed for 2 variable speed turntables, frequency recordings, muted piano & cymbal.

Even earlier, Edgard Varèse experimented with turntables in 1930, though he never formally produced any works using them. This school of thought and practice is not directly linked to the current definition of hip hop-related turntablism, though it has had an influence on modern experimental sound artists such as Christian Marclay, Otomo Yoshihide, Philip Jeck and Janek Schaefer. These artists are the direct descendants of people like John Cage and Pierre Schaeffer and are often credited as a variant to the modern turntablist DJ and producer.

Examples of turntable effects can also be found on popular records produced in the 1960s and 1970's. Creedence Clearwater Revival's 1968 self-titled debut album features a backspin effect in the song "Walk on the Water". However, turntablism as we know it now did not surface until the introduction of hip hop in the late 1970s.

Hip hop
Turntablism as a modern art form and musical practice has its roots within hip hop and hip hop culture of the early 1970s. It stems from one of the culture's "five pillars" - DJing (see "five elements," Hip Hop Culture). Scratching was already widespread within hip hop by DJs and producers by the time turntablists started to appear.

Kool DJ Herc, Afrika Bambaataa and Grandmaster Flash are widely credited for having cemented the now established role of DJ as hip hop's foremost instrumentalist (and historically the genre's only instrumentalist).Kool Herc's invention of break-beat DJing is generally regarded as the foundational development in hip hop history, as it gave rise to all other elements of the genre. His influence on the concept of "DJ as turntablist" is equally profound. To understand the significance of this achievement, it is important to first define the "break." Briefly, the "break" of a song is a musical fragment only seconds in length, which typically takes the form of an "interlude" in which all or most of the music stops except for the percussion. The break is roughly equivalent to the song's "climax," as it is meant to be the most exciting part of a song before returning once more to its finale (usually a return to the main chorus). In addition to raising the audience's adrenaline level, the percussion-heavy nature of the break makes it the most danceable as well, if only for seconds at a time. Kool Herc introduces the break-beat technique as a way of extending the break indefinitely. This is done by buying two of the same record and switching from one to the other on the DJ mixer: e.g., as record A plays, the DJ quickly backtracks to the same break on record B, which will again take the place of A at a specific moment in which the audience will not notice that the DJ has switched records.

Kool Herc's revolutionary technique set the course for the development of turntablism as an art form in significant ways. Most important, however, he develops a new form of DJing that does not consist of playing and mixing records one after the other (incidentally, the type of DJ that specializes in mixing is well-respected for his own set of unique skills, but this is still DJing in the traditional sense). Rather, Kool Herc originates the idea of creating a sequence for his own purposes, introducing the idea of the DJ as the "feature" of parties, whose performance on any given night would be examined critically by the crowd.

However it was Grand Wizard Theodore, an apprentice of Flash, who accidentally isolated the most recognizable technique of turntablism: scratching. He put his hand on a record one day, to silence the music on the turntable while his mother was calling out to him and thus accidentally discovered the sound of scratching by moving the record back and forth under the stylus. Though Theodore discovered scratching, it was Flash who helped push the early concept and showcase it to the public, in his live shows and on recordings.

DJ Grand Mixer DXT is also credited with furthering the concept of scratching by practicing the rhythmic scratching of a record on one or more (usually two) turntables, using different velocities to alter the pitch of the note or sound on the recording (Alberts 2002). DXT appeared (as DST) on Herbie Hancock's hit song "Rockit."

These early pioneers cemented the fundamental practice that would later become one of the pillars of the emerging turntablist art form. Scratching would during the 1980s become a staple of hip hop music, being used by producers and DJs on records and in live shows. By the end of the 1980s it was very common to hear scratching on a record, generally as part of the chorus of a track or within its production. On stage the DJ would provide the music for the MCs to rhyme to, scratching records during the performance and showcasing his skills alongside the verbal skills of the MC. The most well known example of this 'equation' of MCs and DJ is probably Run DMC who were composed of two MCs and one DJ. The DJ, Jam Master Jay, was an integral part of the group since his turntablism was critical to Run DMC's productions and performances.

While Flash and Bambaataa were using the turntable to explore repetition, alter rhythm and create the instrumental stabs and punch phrasing that would come to characterize the sound of hip hop, Grandmaster DST was busy cutting "real" musicians on their own turf. His scratching on Herbie Hancock's 1983 single, "Rockit", makes it perhaps the most influential DJ track of them all - even more than (Grandmaster Flash's) "Wheels of Steel", it established the DJ as the star of the record, even if he wasn't the frontman. Compared to "Rockit", West Street Mob's "Break Dancin' - Electric Boogie" (1983) was punk negation. Only DJ Code Money's brutal mangling of Schooly D's early records can match the cheese-grater note-shredding of "Break Dancin'".[citation needed] As great as Break Dancin' was, though, it highlighted the limited tonal range of scratching, which was in danger of becoming a short-lived fad like human beat-boxing until the emergence of Code Money's DJ Brethren from Philadelphia in the mid-'80s.

Despite New York's continued pre-eminence in the hip hop world, scratch DJing was modernized less than 100 miles down the road in Philadelphia. Denizens of the City of Brotherly Love were creating the climate for the return of the DJ by inventing transformer scratching. Developed by DJs Spinbad, DJ Cash money and DJ Jazzy Jeff, transforming was basically clicking the fader on and off while moving a block of sound (a riff or a short verbal phrase) across the stylus. Expanding the tonal as well as rhythmic possibilities of scratching, the transformer scratch epitomized the chopped-up aesthetic of hip hop culture. Hip hop was starting to become big money and the cult of personality started to take over. Hip hop became very much at the service of the rapper and Cash Money and DJ Jazzy Jeff, saddled with B-list rappers like Marvelous and the Fresh Prince, were accorded maybe one track on an album. For example, tracks like DJ Jazzy Jeff's "A Touch of Jazz" (1987) and "Jazzy's in the House" (1988) and Cash Money's "The Music Maker" (1988). Other crucial DJ tracks from this period include Tuff Crew's DJ Too Tuff's "Behold the Detonator" "Soul Food" (both 1989)," and Gang Starrs "Dj Premier in Deep Concentration" (1990).

"Turntablism"
The appearance of turntablists and the birth of turntablism was prompted by one major factor - the disappearance of the DJ in hip hop groups, on records and in live shows at the turn of the 1990s. This disappearance has been widely documented in books and documentaries (such as Black Noise and Scratch The Movie), and was linked to the increased use of DAT tapes and other studio techniques that would ultimately push the DJ further away from the original hip hop equation of the MC as the vocalist and the DJ as the music provider alongside the producer. This push and disappearance of the DJ meant that the practices of the DJ, such as scratching, went back underground and were cultivated and built upon by a generation of people who grew up with hip hop, DJs and scratching. By the mid-90s the disappearance of the DJ in hip hop had created a sub-culture which would come to be known as turntablism and which focused entirely on the DJ utilising his turntables and a mixer to manipulate sounds and create music. By pushing the practice of DJing away, hip hop created the grounds for this sub-culture to evolve.

The origin of the terms turntablist and turntablism are widely contested and argued about, though over the years some facts have been established by various documentaries (Battlesounds, Doug Pray's Scratch), books (DJ Culture), conferences (Skratchcon 2000) and interviews in online and printed magazines. These facts are that the origins of the words most likely lay with practitioners on the US West Coast, centered around the San Francisco Bay Area. Some claim that DJ Disk, a member of the Invisibl Skratch Piklz, was the first to coin the term, others claim that DJ Babu, a member of the Beat Junkies, was responsible for coining and spreading the term turntablist after inscribing it on his mixtapes and passing them around. Another claim credits DJ Supreme, 1991 World Supremacy Champion and DJ for Lauryn Hill. The truth most likely lies somewhere in between all these facts.

In an interview with the Spin Science online resource in 2005, DJ Babu added the following comments about the birth and spread of the term:

It was around 95, I was heavily into the whole battling thing, working on the tables constantly, mastering new techniques and scratches, and all the while working in a gas station and spending my spare time concentrating on all these things. One day I made this mixtape called 'Comprehension', and on there was a track called 'Turntablism' which featured Melo-D and D-Styles. And this is part of where this whole thing about turntablist came from. This was a time where all these new techniques were coming out, like flares and stuff, and there were probably 20 people or so, in around California between Frisco and LA, who knew about these. So we worked on them, talked about it and kicked about the ideas that these techniques and new ways of scratching gave us. And what I would do is write 'Babu the Turntablist' on tapes I was making at the time, and somehow it got out a bit, the media got hold of it and it blew into this whole thing we now know. But it was really nothing to start with. We'd all talk about these new scratches and how they really started to allow us to use the turntable in a more musical way, how it allowed us to do more musical compositions, tracks, etc. and then we'd think about how people who play the piano are pianists, and so we thought "we're turntablists in a way, because we play the turntable like these people do the piano or any other instrument". Beyond that, it was just me writing 'Babu the Turntablist', because it was something I did to make my tapes stand out. I'd just get my marker pen out and write it on there.
So by the mid to late 1990s the terms turntablism and turntablist had become established and accepted to define the practice and practitioner of using turntables and a mixer to create or manipulate sounds and music. This could be done by scratching a record or manipulating the rhythms on the record either by drumming, looping or beat juggling.

The decade of the 1990s is also important in shaping the turntablist artform and culture as it saw the emergence of pioneering artists (D-Styles, DJ Q-Bert, DJ Quest, DJ Krush, A-Trak, Ricci Rucker, Mike Boo, Prime Cuts) and crews (Invisibl Skratch Piklz, Bullet Proof Scratch Hamsters, Beat Junkies, The Allies, X-Ecutioners), record labels (Asphodel), DJ Battles (DMC, ITF) and the evolution of scratching and other turntablism practices.

More sophisticated methods of scratching were developed during that decade, with crews and individual DJs concentrating on the manipulation of the record in time with the manipulation of the cross fader on the mixer to create new rhythms and sonic artefacts with a variety of sounds. The evolution of scratching from a fairly simple sound and simple rhythmic cadences to more complicated sounds and more intricate rhythmical patterns allowed the practitioners to further evolve what could be done with scratching musically. These new ways of scratching were all given names, from flare to crab or orbit, and spread as DJs taught each other, practiced together or just showed off their new techniques to other DJs.

Alongside the evolution of scratching, which deserves an article in itself, other practices such as drumming (or scratch drumming) and beat juggling were also evolved significantly during the 1990s.

Beat Juggling was invented, or discovered if you will, by Steve Dee, a member of the X-Men (later renamed X-Ecutioners) crew. Beat Juggling essentially involves the manipulation of two identical or different drum patterns on two different turntables via the mixer to create a new pattern. A simple example would be to use two copies of the same drum pattern to evolve the pattern by doubling the snares, syncopating the drum kick, adding rhythm and variation to the existing pattern. From this concept, which Steve Dee showcased in the early 90s at DJ battles, Beat Juggling evolved throughout the decade to the point where by the end of it, it had become an intricate technique to create entirely new 'beats' and rhythms out of existing, pre-recorded ones. These were now not just limited to using drum patterns, but could also consist of other sounds - the ultimate aim being to create a new rhythm out of the pre-recorded existing ones. While Beat Juggling is not as popular as scratching due to the more demanding rhythmical knowledge it requires, it has proved popular within DJ Battles and in certain compositional situations.

One of the earliest academic studies of turntablism (White 1996) argued for its designation as a legitimate electronic musical instrument—a manual analog sampler—and described turntable techniques such as backspinning, cutting, scratching and blending as basic tools for most hip hop DJs. White's study suggests the proficient hip hop DJ must possess similar kinds of skills as those required by trained musicians, not limited to a sense of timing, hand-eye coordination, technical competence and musical creativity.

By the year 2000, turntablism and turntablists had become widely publicised and accepted in the mainstream and within hip hop as valid artists. Through this recognition came further evolution.

This evolution took many shapes and forms: some continued to concentrate on the foundations of the artform and its original links to hip hop culture, some became producers utilising the skills they'd learnt as turntablists and incorporating those into their productions, some concentrated more on the DJing aspect of the artform by combining turntablist skills with the trademark skills of club DJs, while others explored alternative routes in utilising the turntable as an instrument or production tool solely for the purpose of making music - either by using solely the turntable or by incorporating it into the production process alongside tools such as drum machines, samplers, computer software, and so on.

New DJs, turntablists and crews owe a distinct debt to old-school DJs like Kool DJ Herc, Grand Wizard Theodore, Grandmaster Flash, DJ Jazzy Jeff, Afrika Bambaataa and other DJs of the golden age of hip hop, who originally developed many of the concepts and techniques that evolved into modern turntablism.

Within the realm of hip hop, notable modern turntablists are the cinematic DJ Shadow, who influenced Diplo and RJD2, among others, and the experimental DJ Spooky, whose Optometry albums showed that the turntablist can perfectly fit within a jazz setting. Mix Master Mike was a founding member of the influential turntablist group Invisibl Skratch Piklz and currently DJs for the Beastie Boys. Cut Chemist, DJ Nu-Mark, Leroy "Knuckles" Dickerson, Kid Koala are also known as virtuosi of the turntables.
"Chopped and screwed"
Main article: Chopped and screwed
Starting in the 1990s in the Southern United States and burgeoning in the 2000s, a meta-genre of hip hop called "chopped and screwed" became a significant and popular form of turntablism. Often utilizing a greater variety of vinyl emulation software rather than normal turntables, "chopped and screwed" stood out from previous standards of turntablism in its slowing of the pitch and beat ("screwing") and syncopated beat skipping ("chopping"), among other added effects of sound manipulation.

This form of turntablism, which is usually applied to prior studio recordings (in the form of custom mixtapes) and is not prominent as a feature of live performances, de-emphasizes the role of the rapper, singer or other vocalist by distorting the vocalist's voice along with the rest of the recording. Arguably, this combination of distortion and audial effects against the original recording grants greater freedom of improvisation to the DJ than did the previous forms of turntablism. "Chopped and screwed" has also been applied to other genres of music such as R&B and rock music, thus transcending its roots within the hip-hop genre.

Visual Turntablism
Visual turntablism is a more recent phenomenon in which "visual turntablists", or "VJs", incorporate pictures, video, and computer generated effects into their live performances utilizing a separate video mixer in combination with their turntablist equipment. It can contain visuals without the audio being necessarily directly associated or synchronized.

Turntablist contests
Like many other musical instrumentalists, turntablists compete to see who can develop the fastest, most innovative and most creative approaches to their instrument. The selection of a champion comes from the culmination of battles between turntablists.

Battling involves each turntablist performing a routine (A combination of various technical scratches, beat juggles, and other elements, including body tricks) within a limited time period, after which the routine is judged by a panel of experts. The winner is selected based upon score. These organized competitions evolved from actual old school "battles" where DJs challenged each other at parties, and the "judge" was usually the audience, who would indicate their collective will by cheering louder for the DJ they thought performed better. Often, the winner kept the loser's equipment and/or records.

The DMC World DJ Championships has been hosted for 22 years. There are separate competitions for solo DJs and DJ teams, the title of World Champion being bestowed on the winners of each. They also maintain a turntablism hall of fame.[4
www.myspace.com/omucudisc
facebook.com/djSfera
Imagine
Avatar utilizator

Drepti! Inainte mars!
Drepti! Inainte mars!

Mesaje: 388

Membru din: Mar Mar 30, 2010 11:58 am

Localitate: All over the world

Mesaj Mie Apr 28, 2010 12:06 am

Graffiti

Tot pe engleza.

Graffiti (singular: graffito; the plural is used as a mass noun) is the name for images or lettering scratched, scrawled, painted or marked in any manner on property. Graffiti is any type of public markings that may appear in the forms of simple written words to elaborate wall paintings. Graffiti has existed since ancient times, with examples dating back to Ancient Greece and the Roman Empire. In modern times, spray paint, normal paint and markers have become the most commonly used materials. In most countries, defacing property with graffiti without the property owner's consent is considered vandalism, which is punishable by law. Sometimes graffiti is employed to communicate social and political messages. To some, it is an art form worthy of display in galleries and exhibitions; to others it is merely vandalism. Graffiti has since evolved into a pop culture existence often related to underground hip hop music and b-boying creating a lifestyle that remains hidden from the general public. Graffiti is used as a gang signal to mark territory or to serve as an indicator or "tag" for gang-related activity. The controversies that surround graffiti continue to create disagreement amongst city officials/ law enforcement and graffitists looking to display their work in public locations. There are many different types and styles of graffiti and it is a rapidly developing artform whose value is highly contested, being reviled by many authorities while also subject to protection, sometimes within the same jurisdiction.

Etymology
Graffiti and graffito are from the Italian word graffiato ("scratched"). "Graffiti" is applied in art history to works of art produced by scratching a design into a surface. A related term is "graffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into it. In ancient times graffiti was carved on walls with a sharp object, although sometimes chalk or coal were used. The Greek infinitive γράφειν — graphein — meaning "to write", is from the same root.

History
The term graffiti referred to the inscriptions, figure drawings, etc., found on the walls of ancient sepulchers or ruins, as in the Catacombs of Rome or at Pompeii. Usage of the word has evolved to include any graphics applied to surfaces in a manner that constitutes vandalism.

The earliest forms of graffiti date back to 30,000 BCE in the form of prehistoric cave paintings and pictographs using tools such as animal bones and pigments. These illustrations were often placed in ceremonial and sacred locations inside of the caves. The images drawn on the walls showed scenes of animal wildlife and hunting expeditions in most circumstances. This form of graffiti is subject to disagreement considering it is likely that members of prehistoric society endorsed the creation of these illustrations.

The only known source of the Safaitic language, a form of proto-Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the 1st century BCE to the 4th century CE.

Graffiti as an element of hip hop

An aerosol paint can, common tool for modern graffitiIn America around the late 1960s, graffiti was used as a form of expression by political activists, and also by gangs such as the Savage Skulls, La Familia, and Savage Nomads to mark territory. Towards the end of the 1960s, the signatures—tags—of Philadelphia graffiti writers Cornbread, Cool Earl and Topcat 126 started to appear. Cornbread is often cited as one of the earliest writer of modern graffiti. Around 1970-71, the centre of graffiti innovation moved to New York City where writers following in the wake of TAKI 183 and Tracy 168 would add their street number to their nickname, "bomb" a train with their work, and let the subway take it—and their fame, if it was impressive, or simply pervasive, enough—"all city". Bubble lettering held sway initially among writers from the Bronx, though the elaborate writing Tracy 168 dubbed "wildstyle" would come to define the art. The early trendsetters were joined in the 70s by artists like Dondi, Zephyr and Lady Pink.

Graffiti is one of the four main elements of hip hop culture (along with rapping, DJing, and break dancing). The relationship between graffiti and hip hop culture arises both from early graffiti artists practicing other aspects of hip hop, and its being practiced in areas where other elements of hip hop were evolving as art forms. By the mid-eighties, the form would move from the street to the art world. Jean-Michel Basquiat would abandon his SAMO tag for art galleries, and even street art's connections to hip hop would loosen. Occasional hip hop paeans to graffiti could still be heard throughout the nineties, however, in tracks like the Artifacts' "Wrong Side of Da Tracks", Qwel's Brick Walls and Aesop Rock's "No Jumper Cables".

Origins

An aeroplane carved onto the parapet of the road bridge over the old Cunninghamhead railway station site. A piece of 1950s social history.Early modernist graffiti can be dated back to box cars in the early 1920s yet the graffiti movement seen in today's contemporary world really originated through the minds of political activists and gang members of the 1960s. The "pioneering era" of graffiti took place during the years 1969 through 1974. This time period was a time of change in popularity and style. New York City became the new hub (formally Philadelphia, Pennsylvania) of graffiti tags and images. Graffiti artists during this time period sought to put as many markings up as possible around the city. This was the ultimate goal of exposure. Soon after the migration from Philadelphia to NYC, the city produced one of the first graffiti artists to gain media attention in New York, TAKI 183. TAKI 183 was a youth from Washington Heights, Manhattan who worked as a foot messenger. His tag is a mixture of his name Demetrius (Demetraki), TAKI, and his street number, 183rd. Being a foot messenger, he was constantly on the subway and began to put up his tags along his travels. This spawned a 1971 article in the New York Times titled "'Taki 183' Spawns Pen Pals". Julio 204 is also credited as an early writer, though not recognized at the time outside of the graffiti subculture. Other notable names from that time are: Stay High 149, PHASE 2, Stitch 1, Joe 182, Junior 161 and Cay 161. Barbara 62 and Eva 62 were also important early graffiti artists in New York, and are the first women to become known for writing graffiti.


Grafitti tags at São PauloAlso taking place during this era was the movement from outside on the city streets to the subways. Graffiti also saw its first seeds of competition around this time. The goal of most artists at this point was "getting up": having as many tags and bombs in as many places as possible. Artists began to break into subway yards in order to hit as many trains as they could with a lower risk, often creating larger elaborate pieces of art along the subway car sides. This is when the act of bombing was said to be officially established.


Example of a graffiti "tag"By 1971 tags began to take on their signature calligraphic appearance because, due to the huge number of artists, each graffiti artist needed a way to distinguish themselves. Aside from the growing complexity and creativity, tags also began to grow in size and scale – for example, many artists had begun to increase letter size and line thickness, as well as outlining their tags. This gave birth to the so-called 'masterpiece' or 'piece' in 1972. Super Kool 223 is credited as being the first to do these pieces.

The use of designs such as polka dots, crosshatches, and checkers became increasingly popular. Spray paint use increased dramatically around this time as artists began to expand their work. "Top-to-bottoms", works which span the entire height of a subway car, made their first appearance around this time as well. The overall creativity and artistic maturation of this time period did not go unnoticed by the mainstream – Hugo Martinez founded the United Graffiti Artists (UGA) in 1972. UGA consisted of many top graffiti artists of the time, and aimed to present graffiti in an art gallery setting. By 1974, graffiti artists had begun to incorporate the use of scenery and cartoon characters into their work. TF5 (The Fabulous Five), was a crew which was known for their elaborately designed whole cars.

Mid–1970s

Heavily tagged subway car in New York City in 1973By the mid 1970s time, most standards had been set in graffiti writing and culture. The heaviest "bombing" in U.S. history took place in this period, partially because of the economic restraints on New York City, which limited its ability to combat this art form with graffiti removal programs or transit maintenance. Also during this time, "top-to-bottoms" evolved to take up entire subway cars. Most note-worthy of this era proved to be the forming of the "throw-up", which are more complex than simple "tagging," but not as intricate as a "piece". Not long after their introduction, throw-ups led to races to see who could do the largest number of throw-ups in the least amount of time.

Graffiti writing was becoming very competitive and artists strove to go "all-city," or to have their names seen in all five boroughs of NYC. Eventually, the standards which had been set in the early 70s began to become stagnant. These changes in attitude led many artists into the 1980s with a desire to expand and change.


Modern graffiti on trainThe late 1970s and early 1980s brought a new wave of creativity to the scene. As the influence of graffiti grew beyond the Bronx, a graffiti movement began with the encouragement of Friendly Freddie. Fab 5 Freddy (Fred Brathwaite) is another popular graffiti figure of this time, who started in a Brooklyn "wall-writing group." He notes how differences in spray technique and letters between Upper Manhattan and Brooklyn began to merge in the late 70s: "out of that came 'Wild Style'." Fab 5 Freddy is often credited with helping to spread the influence of graffiti and rap music beyond its early foundations in the Bronx, and making links the mostly white downtown art and music scenes. It was around this time that the established art world started becoming receptive to the graffiti culture for the first time since Hugo Martinez's Razor Gallery in the early 1970s.

It was also, however, the last wave of true bombing before the Transit Authority made graffiti eradication a priority. The MTA (Metro Transit Authority) began to repair yard fences, and remove graffiti consistently, battling the surge of graffiti artists. With the MTA combating the artists by removing their work it often led many artists to quit in frustration, as their work was constantly being removed.

Spread of graffiti culture
In 1979, graffiti artist Lee Quinones and Fab 5 Freddy were given a gallery opening in Rome by art dealer Claudio Bruni. For many outside of New York, it was their first encounter with the art form. Fab 5 Freddy's friendship with Debbie Harry influenced Blondie's single "Rapture" (Chrysalis, 1981), the video of which featured Jean-Michel Basquiat of the SAMO© Graffiti, and offered many their first glimpse of a depiction of elements of graffiti in hip hop culture. More important here was Charlie Ahearn's independently released fiction film Wild Style (Wild Style, 1982), and the early PBS documentary Style Wars (1983). Hit songs such as "The Message" and "Planet Rock" and their accompanying music videos (both 1982) contributed to a growing interest outside New York in all aspects of hip hop.Style Wars depicted not only famous graffiti artists such as Skeme, Dondi, MinOne and Zephyr, but also reinforced graffiti's role within New York's emerging hip hop culture by incorporating famous early break dancing groups such as Rock Steady Crew into the film which also features a solely rap soundtrack. Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s.Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983. Hollywood also paid attention, consulting writers like PHASE 2 as it depicted the culture and gave it international exposure in movies like Beat Street (Orion, 1984).

This period also saw the emergence of the new stencil graffiti genre. Some of the first examples were created ca 1981 by graffiti artist Blek le Rat in Paris; by 1985 stencils had appeared in other cities including New York City, Sydney and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photograher Rennie Ellis.

New York City decline

Storefront grafitti of a restaurant between the World Trade Center and Chinatown, in New York City.Just as the culture was spreading outside New York and overseas, the cultural aspect of graffiti in New York was said to be deteriorating almost to the point of extinction. The rapid decline in writing was due to several factors. The streets became more dangerous due to the burgeoning crack epidemic, legislation was underway to make penalties for graffiti artists more severe, and restrictions on paint sale and display made racking (stealing) materials difficult. Above all, the MTA greatly increased their anti-graffiti budget. Many favoured painting sites became heavily guarded, yards were patrolled, newer and better fences were erected, and buffing of pieces was strong, heavy, and consistent. As a result of subways being harder to paint, more writers went into the streets, which is now, along with commuter trains and box cars, the most prevalent form of writing.

Many graffiti artists, however, chose to see the new problems as a challenge rather than a reason to quit. A downside to these challenges was that the artists became very territorial of good writing spots, and strength and unity in numbers became increasingly important. Some of the mentionable graffiti artists from this era were Blade, Dondi, Min 1, Quik, Seen and Skeme. This was stated to be the end for the casual NYC subway graffiti artists, and the years to follow would be populated by only what some consider the most "die hard" artists. People often found that making graffiti around their local areas was an easy way to get caught so they traveled to different areas.

New York 1985–1989
The years between 1985 and 1989 became known as the "die hard" era. A last shot for the graffiti artists of this time was in the form of subway cars destined for the scrap yard. With the increased security, the culture had taken a step back. The previous elaborate "burners" on the outside of cars were now marred with simplistic marker tags which often soaked through the paint.

By mid-1986 the MTA and the CTA were winning their "war on graffiti," and the population of active graffiti artists diminished. As the population of artists lowered so did the violence associated with graffiti crews and "bombing." Roof tops also were being the new billboards for some 80's writers. Some notable graffiti artists of this era were Cope2, Claw Money, Sane Smith, Zephyr and T Kid.

New York Clean Train Movement era
The current era in graffiti is characterized by a majority of graffiti artists moving from subway or train cars to "street galleries." The Clean Train Movement started in May, 1989, when New York attempted to remove all of the subway cars found with graffiti on them out of the transit system. Because of this, many graffiti artists had to resort to new ways to express themselves. Much controversy arose among the streets debating whether graffiti should be considered an actual form of art.

Prior to the Clean Train Movement, the streets were largely left untouched not only in New York, but in other major American cities as well. After the transit company began diligently cleaning their trains, graffiti burst onto the streets of America to an un-expecting un-appreciative public.

City officials elsewhere in the country smugly assumed that gang graffiti were a blight limited largely to the Big Apple No more. The stylised smears born in the South Bronx have spread across the country, covering buildings, bridges and highways in every urban center. From Philadelphia to Santa Barbara, Calif., the annual costs of cleaning up after the underground artists are soaring into the billions.


During this period many graffiti artists had taken to displaying their works in galleries and owning their own studios. This practice started in the early 1980s with artists such as Jean-Michel Basquiat, who started out tagging locations with his signature SAMO (Same Old Shit), and Keith Haring, who was also able to take his art into studio spaces.
www.myspace.com/omucudisc
facebook.com/djSfera
Imagine

The PAWN
The PAWN

Mesaje: 27

Membru din: Mar Mar 30, 2010 9:41 pm

Mesaj Joi Mai 13, 2010 11:44 am

Re: Cultura Hip Hop

Ai postat degeaba Sfera, oricum astia nu citesc nimic. Nu vezi cate vizualizari au 8-| . . .
Avatar utilizator

I bring da pain!
I bring da pain!

Mesaje: 523

Membru din: Lun Mar 29, 2010 6:57 pm

Localitate: Resita

Mesaj Joi Mai 13, 2010 5:57 pm

Re: Cultura Hip Hop

Nu este important cand va citi cineva... Important este ca va citi cineva, la un moment dat. Acum forumul este inca lovit si incearca sa se ridice, so don't worry, tot este important.

P.S. Nu mai scrie asa de colorat ca ma dor ochii @-).
Avatar utilizator

The NOOB
The NOOB

Mesaje: 1

Membru din: Vin Mar 25, 2011 11:08 am

Mesaj Vin Mar 25, 2011 11:14 am

Re: Cultura Hip Hop

Mare! Sunt un nou student producator de bătut, sper să pot învăţa de aici.
Avatar utilizator

I bring da pain!
I bring da pain!

Mesaje: 523

Membru din: Lun Mar 29, 2010 6:57 pm

Localitate: Resita

Mesaj Vin Mar 25, 2011 7:39 pm

Re: Cultura Hip Hop

Salutare!

Iti recomand, si te rog, sa iti faci intrarea prin acest topic:
viewtopic.php?f=34&t=41

Pentru a te prezenta si a stii mai bine cum putem fi de folos.

Înapoi la Turntablism autohton vs. strain

Cine este conectat

Utilizatorii ce navighează pe acest forum: Niciun utilizator înregistrat şi 3 vizitatori

cron
eXTReMe Tracker

Powered by phpBB © 2000, 2002, 2005, 2007 phpBB Group.
Translation/Traducere: phpBB România