New York data-scientist Matt Daniels has released version 2 of his study, “The Largest Vocabulary in Hip-Hop” !
It was announced yesterday that Keke Palmer will be joining the cast of Rodgers and Hammerstein’s Cinderella as it’s leading lady — becoming the first black woman to play Cinderella on Broadway. “It’s honestly one of those things that I can’t believe is really happening,” Palmer told the AP. “I’m very excited. Very excited and nervous as well — a bunch of feelings all at once.”
As a rapper, Bay Area artist Lil B the Based God can be enigmatic, controversial and polarizing. And when he chooses to, he can also be conscious and insightful — as is the case with his latest song and video “No Black Person Is Ugly.” Read More
Dutch photographer Desiré van den Berg has spent the past seven months traveling around Asia. She lives in Hong Kong at the moment, but when she was in Tokyo, back in December 2013, she met Hina, a 23-year-old who works at a trendy Tokyo boutique called Baby Shoop. Hina’s shop has the tagline “Black for Life.” She describes its products as “a tribute to Black culture: the music, the fashion, and style of dance.”
Hina’s appearance is also loyal to what the Japanese call “B-style”—a contraction of the words “Black” and “Lifestyle” that refers to a subculture of young Japanese people who love American hip-hop culture so much that they do everything in their power to look as African American as possible.
I called up Desiré to find out more about her time photographing Hina and her gang.
VICE: How did you meet Hina?
Desiré van den Berg: She appeared in a documentary about B-style a couple of years back, which I happened to watch. This is what got me interested in the culture. It took a lot of effort, but I eventually got in touch with her on Facebook, through other B-stylers. I said I wanted to take photos of her, and she actually thought that was pretty cool. It was all a bit of a hassle, though, because Hina and the other B-stylers didn’t speak a single word of English. We needed a translator both to make an appointment and at the actual first meeting, too.
How does that work in terms of translating rap lyrics?
Hina speaks some English but not fluently. She does like to use some English slang when she speaks Japanese with her B-style friends, like finishing a sentence with “man” or using bad words like “motherfucker” jokingly.
I know Japan is full of weird subcultures, but how do you explain this one?
There are things like the Harajuku Girls, which I guess are rather normal but some are complete excesses. B-style is the sort of thing you would find on wtfjapanseriously.com. Hina often goes to New York, and she idolizes America. Japanese TV is full of American films and commercials and that must be a reason, too. She sees America as a kind of promised land.
Is B-style big in Japan?
No. It’s pretty small; you don’t really see it on the streets. You really have to look for it. According to Hina, it was bigger a couple of years ago—now there are only a few die-hards left in each city. It’s definitely not mainstream, and maybe still to small to even call it a subculture.
What do B-stylers like Hina mainly do?
Hina, for example, visits a tanning salon every week to darken her skin. I was surprised these tanning salons even exist, because in Japan it is a classic beauty ideal to have your skin be as pale as possible.
Just to be clear: Hina is 100 percent Japanese and naturally has pale skin. She is only dark because of the sunbed and the use of really dark foundation. B-stylers also listen to hip-hop, and visit special African hair salons to get braids or curly hair. These salons are usually found in Tokyo’s ghettos and are run by small African communities. Hina wears colored contact lenses: they are a lighter shade of brown to make her eyes seem bigger.
Do B-stylers get together, or does it mainly exist online?
There are special B-style events where primarily Japanese youth breakdance and dance to hip-hop and R&B. Even though the event attracts mostly Japanese people, you hear a lot of typical slang. I went to one of those events and had the feeling that all of a sudden everything had come together. I got the sense that it’s a bigger group than I’d imagined.
Are there people who believe this to be inappropriate?
Apparently not in Japan, but in most comments underneath videos on YouTube you see fierce reactions. Many seem to feel the Afro-American typecasting is all wrong. Hina and other B-stylers are not really aware of this.
And what do B-stylers’ families think of their lifestyles?
When I was in Japan I realized that it’s considered really impolite to stare. You see the weirdest people on the streets, but no one stares, not like the way they can in the Netherlands, where I’m from. It’s easier for people to be who they want to be. Hina’s parents are fine with it. Her mom sees it as a phase that will pass. Even though many Japanese feel right at home in the mass, it is still a land of extremes, which manage to coexist rather well.
You can see more of Desiré’s work here.
BUSK is a short, social issues and subcultural music documentary, following five musicians as they busk in the arteries of the NYC subway system––Persevering to display their talent for income, sustenance, and a means to work, the busker’s experiences are portrayed through interviews, and live performances on the subway platforms. By exploring the city’s music programs, laws, and the musicians’ passion to perform, BUSK, takes the audience below into the heart of New York to hear the real sounds of the subway system.
Street performance or busking is the practice of performing in public places, for gratuities. In many countries the rewards are generally in the form of money but other gratuities such as food, drink or gifts may be given. Street performance is practiced all over the world by men, women and children and dates back to antiquity. In English speaking countries people engaging in this practice are called street performers or buskers.
Earlier today Nike unveiled its national soccer team uniform for the coming 2014 FIFA World Cup in Brazil, and assisting in the reveal of the red, white and blue uniform is Diplo, Spike Lee, and sister trioHAIM. Creating a bridge between fans and soccer players, the musical figures were pictured alongside the likes of players Andrew Luck and Ndamukong Suh, as well as other notable soccer fans such as skateboarder Erik Koston and track and field gold medalist Allyson Felix. Check out the kit above and head here for information on how to purchase.
James Murphy, the former frontman of the band LCD Soundsystem, made what he called the biggest mistake of his life at 21, when he turned down a writing job on a sitcom that was about to launch.
The sitcom’s name was Seinfeld.
Instead, he lurched around, working as a bouncer and later a DJ before finally releasing the first LCD Soundsystem album at the not-so-tender age of 35.
Murphy might have been older than some of his dance-rock peers, but his experience is fairly common among people who experience major creative breakthroughs, according to a new paper from NBER.
What’s more, people who excel in abstract fields, like art or physics, tend to be younger than those who win prizes in fields that require more context, like history or medicine. Another 1977 study found that physics Nobel winners were 36 on average when they did their prize-winning work, while chemists were 39 and medical doctors were 41.
So why the late 30s? The most obvious factor is education: Scientists spend ages 5 through 18 in school, and then ages 18 through 30ish getting their academic degrees. Then a few years of learning on the job, and presto! You dig up an uncertainty principle. Meanwhile, scientific breakthroughs tend to be less common in old age because we invest less in learning as we get older, and our skills gradually become less relevant.
There’s evidence from the humanities, though, that genius doesn’t decline with age at all. Over 40% of both Robert Frost’s and William Carlos Williams’ best poems were written after the poets turned 50. Paul Cézanne’s highest-priced paintings were made the year he died.
The NBER paper found that scientists who are theoretical (coming up with new ways of thinking) tend to peak earlier than those who are experimental (coming up with answers based on existing knowledge) by about 4.6 years.
The most important conceptual work typically involve radical departures from existing paradigms, and the ability to identify and appreciate these radical departures may be greatest shortly after initial exposure to a paradigm, before it has been fully assimilated.
They quote Sigmund Freud in Civilization and its Discontents as writing, “The conceptions I have summarized here I first put forward only tentatively, but in the course of time they have won such a hold over me that I can no longer think in any other way.”
Mnet America proudly presents its latest original series, Alpha Girls, featuring TOKiMONSTA (DJ/Producer), Mina Kwon (Artist), Soo Joo Park (Fashion Model) and Lanie Alabanza-Barcena (Designer).
Alpha Girls follows four jet-setting, career driven girls at the top of their creative games as they juggle work, relationships and everything in between to grow their brand and themselves personally. Capturing the essence of their hustle and the drama of their everyday lives, Alpha Girls will reveal each of their individual and universal journeys as they work with some of the biggest names in the music and fashion industries.
*Premiering Wednesday, February 26 @8PM PST/EST!
For more info, check out:
Seven. Kendrick Lamar was nominated for seven Grammy awards this year. In the Grammy calendar year, he made what is undeniably the best, most complete album. good kid, m.A.A.d city is more than just an album—it is an experience—a neo-blues, hip-hop opera. Yet, at the end of the night, he came away with nothing; and it seemed like everywhere he turned, Macklemore & Ryan Lewis were there snatching the awards he fought so hard for.
But it’s hard to hate Macklemore. Macklemore is a white rapper who addressed white privilege early in his career—something many white rappers have refused to acknowledge while laughing all the way to the bank—and continues to address it even on The Heist. He made an album without an A-list feature; instead, he asked his friends, Wanz, Ray Dalton, and Owuor Arunga, to feature on songs that would eventually become back-to-back number-one singles. He made his friends famous, how cool is that?
The Grammys have always been at least worthy of commentary on race relations and the politics of industry relationships; the Recording Academy’s voting body skews older and white. It would appear that the Grammys are more than willing to give out awards to musicians making black music, but not so willing to award black musicians. In walks Macklemore, a socio-politically-conscious rapper, but a white rapper nonetheless; this wouldn’t matter if history didn’t precede him. But the history is there.
To break this down simply for white readers: think about what it must be like to see people who look like you make incredible bodies of work, and yet consistently be denied accolades. What kind of message does that send and reinforce? Not having to think about this is the definition of white privilege.
Hip-hop is a culture that was born from marginalized Black and Hispanic communities, and rappers from those marginalized communities fought and protested for hip-hop awards to be included in the Grammys’ televised portion. There wasn’t even a Grammy award for Best Rap Album until 1996. This is the lineage Kendrick, not Macklemore, descends from. Macklemore admitted via instagram that Kendrick’s album was better, but how much does that help quell the anger of fans who have seen Black artists, and specifically hip-hop artists, snubbed one too many times?
But we’re not afraid to say it: Kendrick Lamar was snubbed in the Best Rap Album category. Macklemore made a great, energetic LP; Kendrick made a 21st century masterpiece.
Let us know your thoughts on Kendrick Lamar’s Grammy snub in the comments.
Mississippi Senate candidate Chris McDaniel once said that rising gun violence was a function of “hip-hop culture.” Nope. If anything, hip-hop is saving America from crime.
Several years before he decided to challenge Mississippi’s incumbent Sen. Thad Cochran this year, McDaniel hosted a conservative talk radio show. Mother Jones, which has a pretty solid track record of uncovering embarrassing audio filesrecently, came across (via Dark Horse Mississippi) a teaser promo from McDaniel’s radio show, which he hosted from 2004 to 2007. In it, McDaniel made the claim.
“Let’s be very outspoken about what we’re talking about here. The reason Canada is breaking out in brand-new gun violence has nothing to do with the United States and guns. It has everything to do with a culture that is morally bankrupt. It’s called hip-hop.”
“Before you get carried away,” he continues, “this has nothing to do with race. There are just as many hip-hoppin’ white kids and Asian kids as there are black kids.” The hip-hop culture, he said, can’t get control of itself.
Well, let’s consider this. First of all, we’ll accept for the sake of argument that McDaniel, who was last in the news when his links to pro-Confederate groups came to light, doesn’t consider this is a racial issue. We will also set aside the lack of any “redeeming qualities” of the genre; that’s subjective. And we’ll even ignore the claim that Canada is breaking out in new gun violence. In 2005, the country saw a sudden increase in gun-related homicides — that brought the national total to 223. The next year, it was back down to 190.
Let’s just focus on McDaniel’s argument that hip-hop causes crime. If anything — if the data offers us any indication at all — the opposite is true. As the popularity of rap music increased, crime in the United States fell, particularly at the point in which violent, gangsta rap took hold. And if we use McDaniel’s criterion — I think there’s a relationship, therefore there is — we’ve proven him wrong.
To demonstrate this, we pulled crime data compiled by the FBI as a function of population to track how crime has evolved in this country. We focused on the total number of crimes and the amount of violent crime. Then, to gauge the popularity of hip-hop, we turned to the Whitburn Project, an ongoing, underground tabulation of the popularity of singles dating back to 1890. (You can read about it here.) The Whitburn Project indicates the top charting tracks for each year and, for an extensive period, categorizes them by genre. So we took the period of 1980 to 2005 — from just after rap’s birth to the point at which Whitburn’s genre data is less complete — and assessed how much of popular music was dominated by rap. Giving us these charts.
It’s worth noting that the “hip-hop culture” McDaniel decries wasn’t based on the Fresh Prince / Run DMC rap of the 1980s. He means the heavy stuff, which appeared at the end of that decade. In fact, violent crime peaked in 1991 — the same year as NWA’s seminal Efil 4 Zaggin* was released. So, can we thank Mssrs. Ice Cube, Dre, Eazy, and Ren for saving America? Well, no. Crime and music, nearly anyone will tell you, are not linked. “Hip-hop culture,” such as it is, had nothing to do with the amount of crime in U.S., or Canada, at least if actual hip-hop music is any indicator.
You know what kind of music does correlate with America’s increase in crime? Rock music. But that has nothing to do with race. There’s just as many black and Asian kids that were into rock as white kids. Don’t blame them for rock culture.
* Not its actual name.
[via The Wire]