South Korea artist Hyun Jung Kim takes traditional methods and adds modern context. Honestly, I’m not even sure if she actually uses water color to get that traditional Joseon Dynasty look to or if she digitizes but the final product is dope visually either way. Her pieces in this specific series is of young Korean women in hanbok (traditional dress) juxtaposed in modern day situations. Shorty is in a hanbok and a NY snapback, son!
This is a short teaser from the feature documentary Bad Rap. I talk about an incident that happened just before this interview and unfortunately it’s not an uncommon occurrence in America. Maybe in cities like New York or Los Angeles where huge Asian communities are thriving this may not happen as often but I’m still in Philadelphia where a lot of the Asian families have moved out of the Philly limits and haven’t looked back. That ching chong shit might be easy for some to ignore but it still gets to me when I know it shouldn’t. There’s a few reasons for that. For one, it’s not creative. I’m an artist before I’m anything and if you’re going to try to get to me a little originality would be appreciated. Their grandparents probably have said “ching chong” and their 3rd generation is still saying it? Get your racist bars up.
T.I.’s slurred vernacular, 2 Chainz pronunciation, and Gucci Mane’s almost unintelligible mumbled verses may be what kept Southern Hiphop’s chokehold on the industry and the air waves for the past decade. But during the ’90s when No Limit Records was the sound of Southern Hiphop, people had their reservations about the sub-genre. Some would call it crude or unpolished compared to the East Coast sound that ruled the day. It’s hard comparing the poetic style of Nas and the perfect cadence of Biggie against the “ughs” of Master P and the awkward delivery of Silkk Tha Shocker.
As if Brazil was not already considered a hot tourist destination, its upcoming hosting of the 2014 World Cup will no doubt add to the country’s attraction. But to millions of Brazilians, the Cup is a distraction, taking the government’s focus away from their everyday needs—like education, healthcare, transportation and housing—in favor of a considerably brief sporting event that may or may not benefit them in the long-term.
Hiphop is now a multi-cultural language. If you don’t know, now you know. Everyone hears about how the culture is worldwide but here at OW we have to see for ourselves so that we can provide you with the real deal. The OW team, including myself, had the opportunity to see what Hiphop is in China, firsthand.
(No) Thanks to the portrayals within mainstream U.S. media, people from the Middle East tend to be viewed negatively as “terrorists” in the larger society. However, Arab hip hop artists are using their music to thwart that image and share their stories of activism against their own or native governments and all oppressive systems worldwide.
While listening to Australian—or Aussie—rapper Reflekt’s song, “Bullshit Poetry,” on YouTube, I scrolled down the comment section and come across a hater saying that Aussie hip hop is “too emotional” and not nearly raw enough. Of course, like any YouTube comment debate, there were counter comments from listeners who advised the hater to check out some other artists who were indeed rawer than the American artists the hater was likely accustomed to.
With its heavy, dark basslines and futuristic-style elements, grime music is an art form that speaks to the shadow aspect of our souls. It resembles a fierceness that is tired of hiding, or even a power previously untapped. I don’t know how else to say it: grime is grimy. It is gutter, it is raw, it is hard. Maybe that is why US hip hop artists and fans are starting to notice and embrace it.