By: Thomas Pitts

Waka Flocka Flame announced on Twitter that he has decided to retire from hip hop stating, “This game 2 fake I quite rap after this year.” This is a direct quote. Yes he said “quite” instead of “quit”, but he also stated in an interview with Respect Magazine, “I’m not tryin’ to show off my intelligence. Anybody could memorize big words, put ‘em together. I could do that. But if I don’t use the words on an everyday basis, why use the words in my rap?” Maybe “quit” just isn’t in his everyday vocabulary so he doesn’t know how to spell it. Maybe not a bad thing depending on how you look at it… He then goes on to state that he would rather pursue a career at Wal-Mart.

I would like to say I am appalled by the news of Waka Flocka Flame’s retirement from hip hop. His contributions to the game where duly noted and much needed to the hip hop culture. Without him to shed light on how ignorant rappers can be, we would not be able to appreciate the good music out here. He stated in an interview, also with Respect Magazine, “I’m a good ass worker, and I’m here for a reason”. What better reason than to let hip hop culture know what direction not to move in, and whose style not to copy.

So once again Waka graces this generation of listeners with a great message to live by. If you’re doing something you love and get frustrated by the people surrounding your work, just quit living your dream. Every artist in the industry goes through challenges with “fakeness”, whatever that means. This is the way the industry is unfortunately, but the greats either look past this pitfall, or pave their own way. This is what makes them great and what makes Waka forgettable. I challenge all artists to be better. Do we not have enough rappers like this in the game right now? Take this retirement and see it as a chance to do something with a message, with originality. Maybe Waka just ran out of things to say or ways to say he’s a thug. I’ll welcome him back with open arms if he decides to try and “memorize big words” and show that he can be intelligent.

I’m Just Saying

However, the industry in which hip hop is housed, offers little to no space for women to evolve and stand equally in the spotlight with their male counter-parts. It is quite an embarrassment to consider how women are portrayed as these one-dimensional, untalented, “show pieces;” when in fact, women are seldom credited for their persistence, intelligence and versatility when it comes to demonstrating any skills within this hip hop phenomenon.

Since the implementation of hip hop in American society, women have “rocked mics,” and stimulated minds all at the same time. In fact, a bold Nubian sister named Queen Latifah, so confident in the capabilities of women in hip hop (and in general), urged every one in listening range to let ladies be first.

This plea was reflective of her, and other women alike, and their unappreciated existence in this male-dominated culture. Throughout the evolution of hip-hop, women have been mostly associated with images that symbolized the limitations put on them by those who control hip-hop.

Any glimpses of women with significant roles in hip hop, is seemingly, always juxtaposed with images of sex-craved, gold-digging, video vixens (also referred to as video hoe-fessionals), and women whose only desire is to be the most recognized “dime piece.” As a female emcee myself, I remember being influenced by various talented female rappers, such as: Left Eye, Da Brat, Lauryn Hill, Queen Latifah and MC Lyte.

The major similarity with each of these women is that they created their own standards in this culture, and only by those standards did they faithfully live by. Their freedom of expression allowed them to fulfill their individuality and gain the respect they deserved as they continued to break down barriers. Everything from their style, to their stage presence, to their fierce lyrical delivery, gave them an edge over other women who would follow in their trails.

But what happened? Somewhere in the mid nineties the standards were no longer self-defined. The clothes came off, and the lyrics lacked content, flexibility and substance. The desire to be accepted as equal was downplayed by the obsession to be “seen and not heard.” With the entry of women such as: Lil Kim, Foxy Brown and Trina, the expectation for women to convey stereotypical images was reinforced.

Their lyrics shouted proclamations of being the Baddest Bitch and the Queen Bitch while Ill Na Na was the anthem of that particular era.

Over time, the presence of women in hip hop continued to dwindle leaving behind few credible representatives, while overshadowing a variety of underground artists such as: Bahamadia, Medusa, Jean Grae and Mystic.

While attending a Feminism and Hip Hop Conference at the University of Chicago in April 2005, approximately 1,000 students, educators and community organizers got an opportunity to experience a dialogue with women in hip hop who experienced hip hop on several realms.

Roc-A-Fella, a well-known break-dancer broke down her sentiments on hip-hop today versus hip-hop yesterday. She noted that, it is not easy being accepted in hip-hop, especially as a break-dancer.

But when will we as hip hop lovers collectively band together and pay homage to those women who do still represent the true essence of hip hop? When will we accept women who embrace individuality, and refuse to chase the image of what is acceptable, as dictated through the media and other major powerhouses? Where are the spaces and venues for women to showcase their skills?

But most importantly, where my girls at; that aren’t afraid to be the true symbol of hip-hop?

– By Aja La’Starr

The phrase, “Blame it on Hip Hop,” is automatically starting dialogue through out the community. “Are these cats for real, are they holding it down, are they for the underground or commercial?”
Let go deeper inside and get a closer look and feel for BIOHH

BIOHH, was actually started by Marcus Manning and four other business partners Richard Strong, James Cheatham, MC Livingston and Johari Moten. Noticing the influences that hip hop had on everything around him, Marcus remembers watching TV and hearing a beat with hip hop flavor, seeing commercials that were finally representing a piece of the culture, hearing the change in dialect amongst people from a lot of different cultures and classes. People were coming together from a political perspective in the name of hip hop. Seeing the power that hip hop had, Marcus said to himself, “That’s Hip Hop, Blame it on Hip Hop!” To get deeper into why BIOHH was formed and what it really means, we sat down and had a Q&A with one of its founders, Marcus Manning.

LOS: Where are you from?

BIOHH: Mainly from Minnesota with the exception of Richard Strong who was born in Brooklyn, NY and raised in Oakland CA.

LOS: Tell us about BIOHH Honey’s.

BIOHH: BIOHH has always had a womens’s line and actually carried more womens than mens however, word wasn’t getting out so we had to find a way to let people know. Thus the birth of BIOHH Honey. The clothing will also be a mixture of Urban sporty style with a splash of cotureness(not a word). We tend to use a lot of brighter colors to catch the eye of fashion lovers. Again though, just like on the BIOHH side, The BIOHH Honey has a community intiative as well. BIOHH Honey is said to be a celebration of the natural sweetness and beauty that exists in all women. It is a celebration of being a women! This is to be a group of women that not only promote at events but they will also be working to design different programs that touch subjects that women are faced with. It can range from advancing in the workplace to making life easier at home. From how to be beautiful in your darkest hour to suicide etc. We will begin to key in on some core issues but for now it will remain relatively broad. Watch for these women as the will pop up at very select places.

LOS: How does BIOHH Support Local Hip Hop?

BIOHH: I think we support local hip hop in a number of ways and will do even more as we grow and kick in doors. Currently though, we have sponsored some events, done some giveaways and attended many shows. Also, because we have such a strong business background, we have coached a number of MC’s in regards to marketing themselves and creating the critical competetitive differentiator. I also believe that in support of the local scene, anything and any travel that we do, just brings more attention to what is happening with hip hop here in Minnesota which I think is good for the all aspects of the art-form. We have been doing a lot of travel and we are hearing a lot of good stuff about the Minnesota hip hop scene vs years ago when they used to laugh it off.

LOS: Tell us about some of the Community Events BIOHH is doing.

BIOHH: We will be at Juneteenth, Rondo Days and a number of other summer events. We will be participating in the Urban League, Family day event and more to come. In September, we will begin a 10 school tour of public speaking.

LOS: What do you see as the future of BIOHH?

BIOHH: BIOHH is a company that will start out as a clothing line but will branch off in to several child companies ranging from a motivational speaking sector to realestate and community building. Because we have a little bit of talent in a number of areas, it only makes sense to hit it! However, we will take it one step at a time and perfect the clothing side first. Our goal is to become one of the top urban(I hate the term urban but everyone knows it by that) fused with a coture brands in the world. We will have a commercial size following with an underground type feel.

LOS: Any shot outs?

BIOHH: We send Phat 5′s to Boima, Desdamona, Dj X-CAL, UM&F, Rhathinik, Ray Benderez, Spitty Will, KMOJ, Lars Larson, Leah,High Cal the Don, Jack Brewer,Yo, the Movement, the CORE, Los Notivos, Illuminous 3, Sweeps, Dmills, Mahdi, Dj King IXL, Truth Maze, Sentwali, Wizdom, Afro-Preachah, K. Steward Management, Unknown Prophets, Chaka Makali, Buddah Tye and all the other kids who continue to support the art form and keep this thing elevating!

That’s all FOLKS! See Ya next time!

—By Lady’s Of Soul

It is con safos. It is not con queso or beer con papas. Con Safos means with respect. It is taken from the dialect called Calo which was created in the streets of California as a lingo that mixed Spanish with English for second and third generation Mexican-Americans. It is known as a street language. It had bad connotations because it was associated to gang slang. But in reality Con Safos was used by graffiti writers, taggers who left messages on walls. So when someone wanted their artwork or message left up they would type C/S (Con Safos) at the end of their message like this:

 

Old School Tuesday

A show that plays music in regards to the founders that have had great influence in music. The show is hosted by our musical librarian Miguel Vargas.

Listen in!

Tuesdays from 6:30 pm – 8:30 pm  

 Hip –Hop Fridays

A show hosted by yours truly, Rodrigo, Esteban, Orikal and other members of the Con Safos Familia in which we display a large variety of music and special guests.

Fridays from 9:00pm- 11:00 pm

Artists featured on Con Safos Radio

• New MC-Kanser
• Big Quarters
• TrackCiti Alls-stars
• Purest Form
• Danny Solis
• Paul Flores
• DJ Mindcontrol
• Sector 7 G
• Dialek from Purest Form
• Cappaciti
• Orikal
• DJ Wallet Head
• Dj IanX
• Comedian Boiman Freeman

The Hip-Hop culture is not just what you see and hear in the place you live. It stretches beyond the next city, town and even state. It’s present in all countries across the globe. It is Hip-Hop ( or music in general), that connects different people in a great way; greater then one may think. As a fan of Hip Hop, I immediately began comparing the Hip Hop culture in the United States with the Hip Hop culture in my home country; South Africa.

I’ve come across people in the United States asking me if people in South Africa know about American mainstream/commercial Hip-Hop artists. My first response (after shock), is to tell them that Hip-Hop fans in South Africa fall in to two categories: people who love the music and only care about the commercial artists (mainly American artists), and the second group of people who care about all the elements that make up the Hip-Hop culture. The latter are the people who are fans of underground Hip-Hop artists from any part of the world. Of cause like with anywhere else in the world, people sometimes aren’t in any “category” and just love Hip-Hop.

The Hip-Hop industry in South Africa is a young and small one. Back in the early 90’s, there were some emcees in South Africa who wanted to be signed artists, but record labels did not think that South Africans would buy into the idea of “South African Hip-Hop”. That was based on the facts that people were listening and buying music from American artists and local Hip-Hop would have to compete with the more popular genres of House music and Kwaito (a genre unique to South Africa). Fast track to the beginning of the year 2000 and South Africans wanted to hear South African Hip-Hop artists’ music on the radio and buy it. All this led to more artists getting record deals and getting their sound out there. Now people were analyzing Hip-Hop in South Africa; what makes it “South African” Hip-Hop? That is an issue that always comes up in any discussion. The crux of the debate is what differentiates a Hip-Hop artist from South Africa and one from the United States. That comparison is made because the American Hip-hop industry is the largest in the world and it is one that the rest of the world is most exposed to. I think what makes S.A Hip-Hop different from U.S Hip-Hop is the lyrical content and sometimes the beats (there is obviously more than that). The lyrical content will contain issues that South Africans can relate to and even though quite a few of the songs are in English, they will contain any of the other 10 official languages for the “S.A flavor”. The beat quality on some songs is up there with international productions and some others are not. Some songs will also have sampling from songs that are South African classics. The industry is growing and there are artists that are gaining ground not only in South Africa but also around Africa and certain parts of the world. Right now the artists’ focus is trying to gain international recognition, with most artists getting a chance to perform at international music festivals (in Europe and the U.S.).

Before an emcee can get signed they need to have the hunger and drive to get to the top. Since S.A hip-hop is so called “big” now, there are more events that unsigned artists can use to get their music out. An artist’s biggest goal is to gain “street credentials”. For an artist, they know that they have to have a lot of people talking about their skills before they can get a slot on radio or a positive respond from crowds at an event. An emcee uses open-mic events, battles and mixtapes to get exposure “on the ground” before they get signed and get their songs on radio.

Since Hip-hop culture is not just about the music, the other parts of the culture (breaking, graffiti and djing) are also huge in South Africa. B-boys and B-girls in South Africa are as common a sight to see at any Hip-Hop event and teams compete on the local and international scene. DJ’s are a vital part and are respected to the fullest degree by fans and artists. This is because they expose people to new sounds and promote any artists they believe to be worth it. Some DJ’s are also known to compete at international competitions.

The growth of the Hip-Hop culture in South Africa is not only determined by the work of the artists and the support from the fans, but by other people as well. Right now getting people to invest in the local Hip-Hop culture is a struggle for those working in the industry, but people are determined. International Hip-Hop acts (mostly Americans- Talib Kweli, The Roots, Dead Prez and many others), that have been to South Africa have positive things to say about the Hip-Hop culture in South Africa. It is through the international connections and the work of South Africans that more people in other countries will be aware of the South African Hip-Hop culture and support it.

For more info on African Hip-Hop visit www.africanhiphop.com

For more info on the South African Hip-Hop scene and the urban culture visit www.yfm.co.za, www.peakperformances.co.za, rage.co.za

– By Reba

What do New York, NY; Los Angeles, CA: and Minneapolis, MN all have in common? No not them twins, but a culture that both Hip hop as a culture and graffiti as an art form. From old world of Picasso; No not an old white guy with gray hair, the one from the movie “Beat Street” 1984. If you’re a true Hip hop head then you know it’s the first movie showing off both rap and dying art form called Graffiti. From a standpoint that often times, it’s an illegal activity so old heads are trying to make it legit. How to you capture something that was born in the night on subway trains of New York City. Well beside catching the metro transit, and buying a sketchbook, getting arrested and going to jail. How about you just wait and see some of the bomb photography by Benitez Rosario Matias of the Entertainment Companies, LLC. (TEC).

A tool of the trade, “ I was to young for the jerry curl, but thank God I feel in love with Hip Hop” says 26 yr old born and raised in Minneapolis, MN native. I couldn’t help it,, my brothers where all just old enough to run the streets and win ever break dancing competition there was I had my own LL COOL James…Matias, and Juan Salone and their friends showing of their dance movies to the girls except mom wasn’t going to have me run the streets hanging out at “Pops Arcade” downtown Minneapolis.

The first club I hit in downtown was the old “Graffiti’s”, so you know I couldn’t get enough. I’ve grown up, but I remember when I feel in love with Hip Hop. It was watching it on in movies like “Beat Street”, “Breakin” and “Breakin 2” I even have a cousin named Rico. I’m a blkrican, (African American Puerto Rican) but sine my Spanish isn’t that good, the first time I was allowed to grow out my hair I had a High Top Fade. I was more Bobby Brown then Kid N Play, but I found my way to be a kid again. I captured what so many started in did on the weekends and around 2 am finding and documenting Minnesota’s hip-hop graffiti culture. The twin cities has been cleaning it up, even the murals that show the creativeness of some are own Picasso’s. Everyone can remember North Sides Broadway, the old Super Value before it was torn down. The tags in the warehouse districts, and south sides murals over by Powder Horn. I even hip up St. Paul’s train track tags.

With sites are yet to be seen in St. Paul and surrounding suburbs where is the art left to be seen? It’s coming!!! Summer 2006 “The Matias Project Vol. 1” will attempt to capture it before it’s gone. Who’s keeping it alive? North High (Alumni 98) Minneapolis Arts program, the mural at on South High and a Broadway after school program. My company has designed sites for R&B Diva Jami (www.Jami-online.com) designed in graffiti style. I took all the pictures for new bad boy of dance hall Jaw Breaker “JB” (www.Jawbreaker.com ) against the graffiti/murals in North Minneapolis. I’ve been the photographer for Xtreme Magazine. (www.xtreme-entertainment..com ) and there’s more to come from twin cities born native of management TEC Chief of Operation (COO). If you’re ready?, This is just a preview for HipHopClub.biz don’t hate in the land of 10,000 lakes. Stay tuned to get your fix in 2006 www.TrippleSul.com or on myspace.com under “taz_Benitez” or if you know of some art that needs to be captured holler at cha boy!!!

Who’s still doing it?

• 1) http://bombingscience.com ;
• 2) ArtCrimes.com;
• 3) www.artofthestate.co.uk;
• Circa 1988 “Big Booty Benitez” aka Taz Man
• The Rules
• No School’s
• No Home’s
• No Personal/Private Property (without permission)

Click picture to make bigger 

Peace & God Bless

–By TEC COO – Benitez

Demonstrate your pride in being a part of a great city!

You can do so through sporting the hotest newest gear from 612inc. They launched the clothing line in Minneapolis in November, 2005. 612 Clothing’s founder Brian Felsen has been featured in the urban monthly Trendsetter newspaper in February 2006. Also You may have seen the cloths at some events in 2005 such as St. Patrick’s Day at Escape Ultra Lounge D4L concert, Lil’ Wayne at Escape concert, and 612 Clothing’s very own fashion show at Escape Ultra Lounge. As you can see 612 has been putting in work around the 612.

Since Minneapolis was incorporated as a city in 1867, Minneapolis has evolved from a remote wilderness on the prairie known mainly for logging and flour milling to a thriving, cosmopolitan, world-class city with diverse cultural, musical, artistic, athletic, educational, and business interests.

Now as one of the most admired, livable, and beautiful cities in America, Minneapolis is the home of 612 clothing, a local line of innovatively designed high quality clothing and complementary lifestyle products aimed at Minnesotans who are proud to be residents of the largest city in the country’s 32nd state.

Not only is the management of 612 devoted to providing a steady stream of quality, creatively designed, and functional products, it is also committed to community service as well as empowering kids and helping them find and stay on positive paths in pursuit of their goals. 612 also intends to raise money for selected charities through fund raising events, to participate in volunteer opportunities, to sponsor teams, and to be a positive role model in Minneapolis.

for more info on them www.612inc.com

–By HHC Staff