• O.C. : NPR Music Tiny Desk Concert - Hip Hop Golden Age Hip Hop Golden Age

    O.C.: NPR Music Tiny Desk Concert

    As a member of Brooklyn rap collective Diggin’ In The Crates, Omar Credle, aka O.C., helped shape what was known as the golden age of 1990s rap. Marked by loops sourced from jazz recordings and lyrics rooted in one-upmanship, O.C’s two ’90s albums, Word…Life and Jewelz established him as a rapper’s rapper, an underground star.


    pas mal en live genre jazzeuh, mais ça vaut pas l’original en termes de minéraux et de vitamines


  • Muqata’a: ‘Our music is a way to disrupt, to be a glitch in the system’ | Music | The Guardian

    erview by Kieran Yates
    The Palestinian rapper on the power of Ramallah’s dance culture documented in a new film, Palestine Underground

    (...) Muqata’a is locally known as the “godfather” of the underground hip-hop scene in Ramallah, a city in the West Bank, Palestine. A former member of the acclaimed collective Ramallah Underground, he plies a brand of experimental hip-hop – based on sampling and looping the sounds of his city – that has been heralded for influencing a new generation of Palestinian musicians. His family are Palestinian refugees who moved between Nicosia, Cyprus and Amman, Jordan, and eventually came back to Ramallah. Muqata’a features in a new documentary, Palestine Underground, which follows members of the growing subterranean dance culture as they put on DIY parties across the region. It’s released online on 30 October via Boiler Room.

    “Muqata’a” means to disrupt, or boycott. How does your music reflect that?
    I sample classical Arabic music in my records. When our land is being taken away, our culture is muted. So it’s a way to try and disrupt that – being a glitch in the system is very important. When your heritage is being attacked by the state, you have to find ways of being remembered, so I sample a lot. A lot of the Arabic music or old records in my grandparents’ homes in Jaffa and Safed, for example, were taken when their house was confiscated. So this is a way to bring those sounds back. I have to find a lot of these vinyls abroad now – the UK, France or Greece. If I’m very lucky I might see them in a second-hand shop here, but it’s rare. One of my current favourites is Al Henna by Layla Nathmi.

    #palestine #musique

  • L’article d’une DJ israélienne à propos des annulations récentes. Quelques points à noter :
    1) elle n’est pas surprise de l’annulation de Lana del Rey
    2) elle est surprise en revanche de l’annulation de DJs, car ce milieu n’était pas touché par la politique et BDS, et elle se demande si ce n’est pas le début de quelque chose...
    3) elle cite Gaza, la loi sur l’Etat Nation, les arrestations d’activistes à l’aéroport, mais aussi la proximité entre Trump et Netanyahu, qui influence surtout les artistes américains
    4) on apprend que tout le monde sait qu’il y a des artistes, et non des moindres, qui même s’ils ne le disent pas ouvertement, ne viendront jamais en israel : Beyoncé, The Knife, Grizzly Bear, Arcade Fire, Deerhunter, Sonic Youth, Lil Yachty, Tyler the Creator, Kendrick Lamar, Chance the Rapper, Vince Staples, Moodymann, Kyle Hall, the Martinez Brothers, Ben UFO, DJ Ricardo Villalobos, Matthew Herbert, Andrew Weatherall... C’est ce qu’on appelle le boycott silencieux...
    5) il y a aussi le cas de ceux qui ne viennent que si les concerts sont organisés par des Palestiniens : Acid Arab et Nicolas Jaar
    6) même si cela me semble faux, le fait d’accuser certains artistes de boycotter parce que c’est à la mode est un aveu que BDS a le vent en poupe dans le milieu de la musique

    The Day the Music Died : Will BDS Bring Tel Aviv’s Club Scene to a Standstill ?
    Idit Frenkel, Haaretz, le 7 septembre 2018

    Lana Del Rey should have known better. And if not Del Rey herself, then at least her managers, PR people and agents.

    As the highest-profile artist who was scheduled to appear at the Meteor Festival over the weekend in the north, it was clear she’d be the one caught in the crossfire , the one boycott groups would try to convince to ditch an appearance in Israel. That’s the same crossfire with diplomatic, moral and economic implications that confronted Lorde, Lauryn Hill and Tyler, the Creator: musicians who announced performances in Israel and changed their minds because of political pressure.

    Del Rey, however, isn’t the story. Her cancellation , which included some mental gymnastics as far as her positions were concerned, could have been expected. Unfortunately, we’ve been there many times and in many different circumstances.

    Tsunami of cancellations

    The ones who caught us unprepared by drafting an agenda for the Israeli-Palestinian conflict turned out to be DJs like Shanti Celeste, Volvox, DJ Seinfeld, Python and Leon Vynehall, who also dropped out of Meteor. Why was this unexpected? Because Israel’s nightlife and clubbing scene – especially in Tel Aviv – had been an oasis regarding cultural boycotts, an extraterritorial hedonistic space with no room for politics.

    The current tsunami of cancellations, while it might sound trivial if you’re untutored in trance music, could reflect a trend with effects far beyond the Meteor Festival. In the optimistic scenario, this is a one-off event that has cast the spotlight on lesser-known musicians as well. In the pessimistic scenario, this is the end of an era in which the clubbing scene has been an exception.

    Adding credence to the change-in-direction theory are the cancellations by DJs who have spun in Tel Aviv in recent years; Volvox, Shanti Celeste and Leon Vynehall have all had their passports stamped at Ben-Gurion Airport. And those times the situation wasn’t very different: Benjamin Netanyahu was prime minister, the occupation was decades long and there were sporadic exchanges of fire between the sides.

    Moreover, two of the DJs spearheading the struggle on the nightlife scene regarding Mideast politics – the Black Madonna and Anthony Naples – have been here, enjoyed themselves, been honored and promised to return, until they discovered there’s such a thing as the occupation.

    Americans and Brits cancel more

    So what has changed since 2015? First, there has been a change on the Gaza border, with civilians getting shot. These incidents have multiplied in the past three months and don’t exactly photograph well.

    Second, news reports about the nation-state law and the discrimination that comes with it have done their bit. Third, the arrests and detentions of left-wing activists entering Israel haven’t remained in a vacuum.

    Fourth, and most importantly, is Donald Trump’s presidency and his unconditional embrace of Netanyahu, including, of course, the controversial opening of the U.S. Embassy in Jerusalem. As in the case of Natalie Portman’s refusal to accept a prize from the state, the closeness between the Trump administration and the Netanyahu government – under the sponsorship of evangelical Christians – has made Israel a country non grata in the liberal community, of which Hollywood is one pole and nightlife the other.

    It’s no coincidence that the DJs canceling are either Americans or Brits on the left; that is, Democrats or Jeremy Corbyn supporters in Labour – people who see cooperation with Israel as collaboration with Trump and Britain’s Conservative government.

    Different from them is Honey Dijon, the black trans DJ from Chicago who in response to the protest against her appearance at the Meteor Festival tweeted: “All of you people criticizing me about playing in Israel, when you come to America and stand up for the murder of black trans women and the prison industrial complex of black men then we can debate. I play for people not governments.” Not many people tried to argue with her. Say what you will, contrarianism is always effective.

    The case of DJ Jackmaster

    Beyond the issue of values, at the image level, alleged collaboration can be a career killer, just as declaring a boycott is the last word in chic for your image nowadays. That’s exactly what has happened with Scotland’s DJ Jackmaster, who has gone viral with his eventual refusal to perform at Tel Aviv’s Block club. He posted a picture of the Palestinian flag with a caption saying you have to exploit a platform in order to stand up for those who need it. The flood of responses included talk about boycotting all Tel Aviv, not just the Block.

    Yaron Trax is the owner of the Block; his club is considered not only the largest and most influential venue in town but also an international brand. Trax didn’t remain silent; on his personal Facebook account he mentioned how a few weeks before Jackmaster’s post his agent was still trying to secure the gig for him at the Block.

    “Not my finest hour, but calling for a boycott of my club at a time when an artist is trying to play there felt to me like crossing a line,” Trax says. “Only after the fact, and especially when I saw how his post was attracting dozens of hurtful, belligerent and racist responses – and generating a violent discourse that I oppose – did I realize how significant it was.”

    Trax talks about the hatred that has welled up in support of Jackmaster’s Israel boycott – just between us, not the sharpest tool in the shed and someone who has recently been accused of sexual harassment. As Trax puts it, “The next day it was important to me to admonish myself, first off, and then all those who chose to respond the way they responded.”

    In a further well-reasoned post, Trax wrote, “I have always thought that people who take a risk and use the platform that is given to them to transmit a message they believe in, especially one that isn’t popular, deserve admiration and not intimidation or silencing.” Unsurprisingly, the reactions to this message were mostly positive.

    Notwithstanding the boycotters who have acceded to the demands of Roger Waters and Brian Eno – the most prominent musicians linked to the boycott, divestment and sanctions movement – there are plenty of superstar musicians like Lady Gaga, Justin Timberlake and the Rolling Stones who have come to Israel as part of their concert tours, even though they suffered the same pressures. The performers most vocal about their decision to appear in Israel have been Radiohead and Nick Cave.

    At a press conference on the eve of his concert, Cave expressed his opinion on the demand to boycott Israel: “It suddenly became very important to make a stand, to me, against those people who are trying to shut down musicians, to bully musicians, to censor musicians and to silence musicians.”

    Radiohead frontman Thom Yorke took the message one step further and tweeted: “Playing in a country isn’t the same as endorsing its government. We’ve played in Israel for over 20 years through a succession of governments, some more liberal than others. As we have in America. We don’t endorse Netanyahu any more than Trump, but we still play in America.” As Yorke put it, music, art and academia are “about crossing borders, not building them.”

    There’s a lot of truth in Yorke’s declaration, but whether or not musicians like it, appearances in Israel tend to acquire a political dimension; any statement becomes a potential international incident. Thus, for example, after Radiohead’s statement, Public Security Minister Gilad Erdan saluted the band, and after Cave’s press conference, Foreign Ministry spokesman Emmanuel Nahshon tweeted “Bravo Nick Cave!”

    The trend continues when we step down a league from the A-listers, like Beyoncé, who doesn’t intend to perform in Israel despite her annual declaration that she’ll come “next year.” There’s the second level, the cream of international alternative rock and pop – refusals to appear in Israel by bands “of good conscience” like the Knife, Grizzly Bear, Arcade Fire and Deerhunter.

    The most prominent voice from this territory is that of former Sonic Youth guitarist and vocalist Thurston Moore. Yes, he appeared with his band in Tel Aviv 23 years ago, but since then he has become an avid supporter of BDS, so much so that he says it’s not okay to eat hummus because it’s a product of the occupation.

    ’Apartheid state’

    At the next level of refusers are the major – and minor – hip-hop stars. In addition to Lil Yachty and Tyler, who canceled appearances, other heroes of the genre like Kendrick Lamar, Chance the Rapper and Vince Staples have refused from the outset to accept invitations to Israel. It’s quite possible that the connection between BDS and Black Lives Matter is influential. As early as 2016, Black Lives Matter published a statement supporting BDS and declaring Israel an “apartheid state.”

    Which brings us to electronic music and the cultural phenomenon that goes with it – the club culture. In numerical terms, club culture is smaller, but the information that flows from it on the ground or online flows much faster.

    Moreover, not only is club culture more sensitive to changes and far more alert to ideas and technological advances, its history is marked by struggles by oppressed groups. It can be said that African-Americans, Hispanics and gay people were the first to adopt the “night” way of life, back in the days of New York’s clubs and underground parties in the ‘70s. Accordingly, these groups have been the ones to nurture this lifestyle into today’s popular culture. Hence also the association with movements like BDS.

    Boiler Room Palestine

    Indeed, the current trend points to a step-up in the discourse; in the past year the top alternative culture magazines – of which the electronic music magazines play a key role – have published articles surveying musical and cultural happenings in Palestinian society.

    The online music magazine Resident Advisor has had two such stories, the first about a workshop for artists with the participation of the Block 9 production team, musicians Brian Eno and Róisín Murphy (formerly of Moloko) and American DJ the Black Madonna. The workshop, which included tours, discussion groups and joint musical work, was held at the Walled Off Hotel in Ramallah, also known as Banksy’s hotel because of the street artist’s involvement in its planning in the shadow of the separation barrier.

    The second article surveyed the Palestinian electronic scene and its leading players – promoters, DJs and producers who are operating despite the restrictive military regime. In addition, the writer accompanied the production of Boiler Room Palestine in Ramallah in June. (The wider Boiler Room franchise has been the world’s most popular pop party for the past five years.)

    Another example includes the style magazine Dazed, which wrote about the cultural boycott movement immediately after the cancellation of Lorde’s concert, and just last month New York Magazine’s culture supplement Vulture set forth its philosophy on the boycott (also in the context of Lana Del Rey). It predicted that the awakening we’re seeing today is only in its infancy.

    This partial list isn’t a clear declaration about “taking a stance” – after all, progressive media outlets in culture laud Israeli artists (for example Red Axes, Moscoman and Guy Gerber) or local venues, like the Block club. But if you add to these the scores of Facebook battles or Twitter discussions (like the one Del Rey found herself in), you’ll get noise. And noise generates questions, which generate more noise and raise consciousness. And from there to change on the ground is a modest distance.

    ’These are people who slept on my sofa’

    Refusals of invitations or cancellations of concerts in Israel by artists didn’t begin with BDS or the increasing volume of the past two years. After all, a visit to Israel all too often requires an intrusive security check. It’s hard to complain about a DJ who isn’t keen to have his underwear probed.

    Also, there’s a stratum of artists who’ve appeared in Tel Aviv, Jerusalem or Haifa and have decided to stop coming – unless there’s a Palestinian production. Two examples are the French band Acid Arab (Parisians Guido Minisky and Hervé Carvalho) and the American producer – and darling of the hipster community – Nicolas Jaar . Jaar appeared in Tel Aviv a bit under a decade ago, just before he became a star, while Acid Arab not only performed in Tel Aviv but was also involved in projects with Israeli musicians – so plenty of people called the duo hypocrites.

    “I have no problem with strong opinions, but in the case of Acid Arab it annoyed me at the personal level – these are people who slept on my sofa, recorded with local musicians, and the day they put up their post announcing they wouldn’t play in Tel Aviv, they also asked me to send them some music,” says Maor Anava, aka DJ Hectik.

    “I have no problem with people changing their minds on the go; it’s clear to me that a visit to the separation fence can do it, but what bothered me is that it’s entirely a PR and image move, apparently at the advice of their agent,” he adds.

    “We’ve reached a situation in which a boycott of Israel is the trendiest thing and situates you in the right place in the scene – as a supporter of the Palestinian freedom fighters against the terrible Zionist occupier, something that can get you to another three big festivals. If you performed in Tel Aviv, apparently they’d do without you.”

    Thus at the end of last year, Acid Arab and Nicolas Jaar appeared in Haifa and Ramallah at parties produced by Jazar Crew, the only electronic collective in Israel that isn’t afraid to mix in politics.. So it surprised no one when Jazar received laudatory – and justified – coverage not only in Bar Peleg’s Haaretz piece but also in Resident Advisor.

    Is the party over?

    So are we seeing the onset of the electronic boycott of Tel Aviv, one of the world’s clubbing capitals? Well, the city is still a flourishing center of parties and club events every week. “ As of today it hasn’t yet happened that we’ve directly encountered an attempt by the cultural boycott to influence artists who are slated to appear at the club,” Trax says.

    “But we’re definitely seeing a change in the surrounding behavior. Nasty responses that people are leaving for a DJ who announced an upcoming gig with us have led to fewer famous DJs announcing appearances at the Block – even those who always promote themselves.”

    He notes a slowdown in the past two years. “A number of DJs who used to appear with us – Moodymann, Kyle Hall, the Martinez Brothers – have announced they won’t be returning, ” Trax says, referring to three American acts. “But there isn’t any set reason why. If the cultural boycott has an influence here I wouldn’t be surprised, because the Detroit junta is very political. And this also applies to UFO,” a successful British DJ and a high-profile voice in the European underground arena.

    Not all DJs who have chosen not to come to Israel have taken their stance amid the strengthening of the BDS movement. Some of the top people in the dance industry – including star Chilean-German DJ Ricardo Villalobos and British DJs and producers like Matthew Herbert and Andrew Weatherall – have for years been refusing to spin in Israel. They’ve made clear that this is their way of opposing Israel’s activities in the territories.

    Another great DJ, Tunisian-born Loco Dice who lives in Germany, is also considered a vocal opponent of Israel. But in December he played at the Block, and Trax doesn’t recall any signs that his guest was hostile to the country. This shows that a change of awareness works both ways.

    There’s a similar story: the decision by DJ Tama Sumo of the Berghain club in Berlin to play in Israel after a long boycott. She and her partner DJ Lakuti, a pillar of the industry, donated the proceeds of her Tel Aviv set to an organization for human rights in the territories.

    “As of now I don’t feel that the names who have decided to stop coming will change anything regarding the Block, because our lineup of VIPs isn’t based on them,” Trax says. “But if the more commercial cream of the clubs – DJs like Dixon, Ame and Damian Lazarus, or the big names in techno like Nina Kraviz, Ben Klock, Jeff Mills or Adam Beyer – change their minds, that will be a real blow to us, and not just us.”

    Amotz Tokatly, who’s responsible for bringing DJs to Tel Aviv’s Beit Maariv club, isn’t feeling much of a change. “The cancellations or refusals by DJs and artists based on a political platform didn’t begin just this year. I’ve been encountering this for many years now. There are even specific countries where we know the prevailing mood is political and tending toward the boycott movement. For example England. The rhetoric there is a priori much stronger,” Tokatly says.

    “But take Ben UFO, who has played in Tel Aviv in the past. When we got back to him about another spinning gig he said explicitly, ‘It simply isn’t worth it for me from a public relations perspective, and it could hurt me later on.’ DJs like him make their own calculations.”

    Tokatly doesn’t believe in a “Meteor effect” that will send the visiting DJ economy to the brink of an abyss. “I’m giving it a few weeks to calm down, and in the worst case we won’t be seeing here the level of minor league DJs who have canceled due to the circumstances,” he says.

    “In any case, they’re names who would have come here – if at all – once a year. Regarding artists who have a long-term and stable relationship with the local scene, we haven’t seen any change in approach yet.”

    Unlike Trax and Tokatly, Doron “Charly” Mastey of the techno duo TV.OUT and content director at Tel Aviv’s Alphabet Club says the recent goings-on haven’t affected him too much; his club is unusual in that doesn’t base itself on names from abroad.

    “I don’t remember any case of a refusal or cancellation because of political leanings,” he says. “But with everything that’s happening now regarding Meteor, and if that affects the scene down the road and the airlift to Tel Aviv stops, I’m not at all sure that’s a bad thing.”

    Mastey has in mind the gap between the size of the audience and the number of events, parties and festivals happening in Israel right now. “The audience is tired, and indifferent,” he says.. “And if this kick in the pants – of cancellations – is what’s going to dismantle the scene in its current format, then it will simply rebuild itself. I hope in a way that’s healthier for everyone.”

    In any case, if the rest of the world has realized that it’s impossible to separate politics from anything, and definitely not from club culture, which started out as a political and social movement, then the best thing we can do is try to hold the discussion in an inclusive a way as possible. An Israeli DJ working in Berlin who requested anonymity thinks that these ideas should be taken one step further.

    “Nowadays, for artists who want to go to Israel, two proposals are on the table,” he says. “Support the boycott or support the occupation. These two things are depicted even if they aren’t accurate, and between the two options there are a thousand more levels.”

    He believes there is scope for taking action. “The local scene must know how to fill the vacuum and craft alternatives to the boycott’s demands,” he says. “For example, by showing artists other ways to take a stand, whether by cooperating with Palestinians or suggesting that they donate the proceeds of their Tel Aviv appearances to a human rights group.”

    The voices calling for a cultural boycott of Israel, whether in sports, concerts or the subfield of electronic music, aren’t going to disappear. If anything, they’re only going to grow louder.

    Moreover, if we take into account the complexity of the conflict, maybe we should seek to communicate these insights in a way that drops the imagery of absolutes like left-right, bad-good, Zionist-anti-Semitic. The club culture exists to connect extremes, not separate people. Our demand to continue a vibrant electronic scene is just as legitimate as that of the boycott supporters’ attempts to create awareness.

    Even if we don’t agree with the idea of the boycott, it’s still possible to accept the realization that there are people who think differently – who want to perform for the other side as much as they want to perform for us. This doesn’t make them an existential danger.

    Moreover, as the Israeli DJ working in Berlin says, the Israeli scene needs an arsenal of proposals for constructive activism; it must provide alternatives to the BDS call to boycott – and not automatically flex an insulted patriotic muscle. This might not be the easiest thing to do, but hey, this is Israel. It’s not going to be easy.

    #Palestine #BDS #Boycott_culturel

  • Photo Tampering throughout History


    Though photo manipulation has become more common in the age of digital cameras and image editing software, it actually dates back almost as far as the invention of photography. The pages that follow contain an overview of some of the more notable instances of photo manipulation in history. For recent years, an exhaustive inventory of every photo manipulation would be nearly impossible, so we focus here on the instances that have been most controversial or notorious, or ones that raise the most interesting ethical questions.

    Promoting the narrative that anti-government activists were actually puppets being manipulated by the U.S. government to undermine the Russian government, the Russian national television network REN-TV published a photo showing that U.S. ambassador to Russia John Tefft had attended a Moscow rally of these activists. The U.S. Embassy responded that Tefft had actually spent that day relaxing at home, and then mocked REN-TV’s coverage by releasing a series of composites showing Tefft at a variety of other historical events. After the original source photo was revealed to be from an interview Tefft gave in February at the site where Russian opposition politician Boris Nemtsov had been murdered, REN-TV conceded that the version they had published was a fake that they had found on Twitter.

    Ultra-orthodox Jewish newspaper Actuali published on its front page a group photo of the new Israeli coalition government ministers, but it modified the photo to remove three women. Two of the women had been standing side-by-side, so the paper filled the noticeable gap by moving in a minister from another region of the photo which had been cropped. Another ultra-Orthodox news source, the website B’Haderai Haredim, also felt the need to hide the women when publishing the photo, but it took the less extreme measure of pixelating their faces.

    After the Azerbaijan Ministry of Defense published a photo depicting its soldiers participating in a Victory Day parade in Moscow, online observers quickly pointed out that the image had been modified to hide the fact that Armenian soldiers were positioned immediately behind them in the parade, which was organized alphabetically. In an original version of the photo, the Armenian flag is clearly visible in the background, but this flag has disappeared in the “official” Azerbaijan version. The two countries have long had an adversarial relationship due to a territorial dispute.

    While it may not be the most outrageous example of an ultra-Orthodox Jewish publication removing a prominent woman from a photo, the website Kikar HaShabbat’s approach to removing Kim Kardashian deserves some recognition for its amusingly pragmatic simplicity. Before publishing a photo showing Kardashian and rapper Kanye West having lunch with Jerusalem mayor Nir Barkat, the website hid Kardashian by clumsily compositing a dining receipt over that portion of the photo. When asked about the modification, editor Nissim Ben Haim said it was necessary because Kardashian is a “pornographic symbol” who is inconsistent with the values of their site.

    #photographie #manipulation #Photoshop

  • ’This is Iraq’: Rapper decries US legacy in Iraq in bitter parody of Childish Gambino (VIDEO) — RT World News

    A musical video by an Iraqi rapper calling out the US on its abuses at Abu Ghraib and elsewhere in the war-ravaged country following the 2003 invasion has gone viral, racking up over 500,000 views.

    The video was filmed by rapper I-NZ as another parody of Childish Gambino’s ’This is America.’ While Gambino took on police brutality and racial bias in his acclaimed work, the Iraqi rapper chose to cast the light on the ugly results of the Iraq War, with its well-documented instances of maltreatment and humiliation of detainees by US soldiers. The name of the former US military prison, Abu Ghraib, the video’s supposed set, became synonymous with abuse after harrowing images and accounts of physical and psychological torture within its walls became public in 2004.

    (...) The rapper, who was born to Iraqi parents and grew up in New Zealand and has never actually been to Iraq in his life, highlights the lack of coverage on the issue and the impunity of foreign forces and local corrupt elites with the line: “They’re immune, this is telly, that’s the news, media blackout, then it’s lights out, keep sniffin’ the tar.” The video also mocks former US President George W Bush for his infamous May 2003 speech, which he delivered under a “Mission Accomplished” banner, and after which the war continued for eight more years, arguably paving the way for the rise of Islamic State (IS, formerly ISIS/ISIL) and for leaving the country in economic and political disarray.

    The video was released on July 4, and it has been watched over 500,000 times on YouTube since. Speaking to VICE Arabic, the rapper said that he did not initially plan for it to coincide with the US Independence Day, however, he then decided to speed up the release to draw more attention to the issue.


    #irak #rap

    • أدب .. بدر شاكر السياب : النهر و الموت

      أجراس برج ضاع في قرارة البحر
      الماء في الجرار و الغروب في الشجر
      و تنضح الجرار أجراسا من المطر
      بلورها يذوب في أنين
      بويب يا بويب
      فيدلهم في دمي حنين
      إليك يا بويب

    • The River And The Death Poem by Badr Shakir al-Sayyab - Poem Hunter

      Buwaib , Oh Buwaib ,
      Bells of a lighthouse lost at the bottom of the sea ,
      Water is in the pots , and the sunset in the trees ,
      The pots ooze bells of rain ,
      Their crystal melts away in wailing .

      Buwaib , Oh Buwaib !
      Sympathy for you , Buwaib darkens in my blood ,
      Sad like rain , O my river ,
      I wish I could run in the darkness ,
      Tightening my both fists to carry ,
      In each finger , a year of yearning ,
      As if I were carrying votive offerings ,
      Of wheat and roses .
      I wish I could approach from the hills beds ,
      To glance the moon ,
      Wading between your banks ,
      Planting shadows and filling the baskets ,
      With water , fish and roses .
      I wish I could wade you , to follow the moon ,
      And hear the pebbles rattle in the bottom ,
      The rattling of thousands of sparrows on the trees .
      Are you a wood of tears or a river ?
      And will the fish sleep at dawn ?
      And will these stars stay waiting ,
      To feed with silk thousands of needles ?
      And you , Buwaib , how I wish I could sink into you ,
      To pick up oyster shells to build a house out of them ,
      To enlighten with it the verdancy of water and trees ,
      Of what the stars and the moon ooze ,
      To reach the sea in you with the ebb ,
      For death is a strange world ,
      That enchants the young ,
      And its hidden door was with you , Buwaib .

      Buwaib , O Buwaib .
      Twenty years have gone , every year is like ages ,
      And today , when darkness overcast ,
      To stay up sleepless in bed ,
      And to delicate the conscience up to the daylight ,
      Like a tree with delicate branches , birds and fruits .
      I feel the blood , the tears as the rain ,
      Ooze by the sad world .
      Bells of the dead are shaking in my veins ,
      To darken sympathy in my blood ,
      Sympathy for a bullet to cut open the depths of my heart ,
      With its constrictive ice ,
      To burn up the bones like the hell .
      I wish I could run to support the strugglers ,
      To tighten my both fists and slap the fate .
      I wish I could drown in my blood to the bottom ,
      To bear the burden with human beings ,
      To infuse life . My death is then triumph .

      Translated by : Jamil Azeez Mohammad
      Badr Shakir al-Sayyab

    • Badr Shakir al-Sayyab — Wikipédia

      Badr Shakir al-Sayyab (en arabe : بدر شاكر السياب ; Djaykur, 24 décembre 1926 - Koweït, 24 décembre 1964) est un poète et traducteur irakien de langue arabe. Il est la référence incontestée de la poésie arabe moderne et l’un des fondateurs du Vers libre dans la littérature arabe.

    • https://en.wikipedia.org/wiki/Battle_of_Buwaib

      Battle of Buwaib - Wikipedia

      Battle of Buwaib (Arabic: معركة البويب‎) was fought between Sassanid Empire and Rashidun Caliphate soon after Battle of the Bridge.
      The war ended with huge success to the Muslims in which they killed the Persian leader Mihran bin Badhan, and got momentum to further expand their wars against the Sassanids and their allies.

    • بدر شاكر السياب - انشودة المطر - song of the rain

      Rain Song Poem by Badr Shakir al-Sayyab - Poem Hunter

      [… 7:12]
      In every drop of rain
      A red or yellow color buds from the seeds of flowers.
      Every tear wept by the hungry and naked people
      And every spilt drop of slaves’ blood
      Is a smile aimed at a new dawn,
      A nipple turning rosy in an infant’s lips
      In the young world of tomorrow, bringer of life.
      Drop..... the rain . . .In the rain.
      Iraq will blossom one day ’
      I cry out to the Gulf: ’O Gulf,
      Giver of pearls, shells and death!’
      The echo replies
      As if lamenting:
      ’O Gulf,
      Giver of shells and death.’
      And across the sands from among its lavish gifts
      The Gulf scatters fuming froth and shells
      And the skeletons of miserable drowned emigrants
      Who drank death forever
      From the depths of the Gulf, from the ground of its silence,
      And in Iraq a thousand serpents drink the nectar
      From a flower the Euphrates has nourished with dew.
      I hear the echo
      Ringing in the Gulf:
      ’Rain . . .
      Drip, drop, the rain . . .
      Drip, drop.’

      In every drop of rain
      A red or yellow color buds from the seeds of flowers.
      Every tear wept by the hungry and naked people
      And every spilt drop of slaves’ blood
      Is a smile aimed at a new dawn,
      A nipple turning rosy in an infant’s lips
      In the young world of tomorrow, bringer of life.
      And still the rain pours down.

      Translated by: Lena jayyusi and Christopher Middleton

  • Launching a National Gun-Control Coalition, the Parkland Teens Meet Chicago’s Young Activists | The New Yorker

    “The Road to Change,” as the tour is called, Parkland students will educate young voters about the March for Our Lives platform and visit politicians who oppose their agenda. The students will also, according to their Web site, “meet fellow survivors and use our voices to amplify theirs.” The Parkland students were leaders, but uncomfortable ones. The kind of attack they experienced, although far too common, is still a rare and extraordinary thing—two-thirds of the firearm deaths in the United States are suicides, and most others are homicides, with only a fraction of those being mass shootings. The students understood that they are examples of America’s gun problem but also outliers. As such, their intention to let other activists speak to their own circumstances was both honest and good. On the other hand, a movement needs leaders. In advertising for the first march of the summer, the former Parkland student Emma González was listed as a headliner, alongside Chance the Rapper, Jennifer Hudson, Gabby Giffords, and will.i.am.

    When McDade emerged, he was dressed formally, in a summery pink button-down shirt, black trousers, and velvet loafers. At the March for Our Lives rally this spring, he and another North Lawndale student, Alex King, had walked onstage wearing matching blue sweatshirts and with their fists raised. They wore tape over their mouths, which they then removed to talk about the six hundred and fifty people who died from gun violence in Chicago last year, the seven hundred and seventy-one who died in 2016, and their own experiences of fear and death. It may not have been obvious from their speeches, but McDade and King come from a different tradition of activism than that of the Parkland students, who cleverly troll the National Rifle Association on social media, rattle off statistics, and seek out discussion with politicians. McDade, King, Wright, and their classmates are more likely to quote the speeches of M

    artin Luther King, Jr., than a SpongeBob meme or a study from the Brady Center to Prevent Gun Violence. Their policy priorities reflect their immediate circumstances—they speak less of gun control than the need for more youth-employment opportunities, mental-health resources, and funding for the public schools they attend. Their experience of gun violence is not of a single traumatic emergency but of a chronic problem that is only one instance of the social inequality around them. McDade told me that, during a school town-hall meeting on violence, when the audience was asked who knew at least thirty people who had been shot, eighty-five per cent of the people in the room had raised their hands. Although they have more reasons to be angry than most people their age, they radiate peace and compassion. As this movement begins to form a national coalition, they are its philosophers, its bodhisattvas.❞

    “Democrats can’t listen to the Parkland students supporting the prevention of gun violence but not listen to these children,” a student from the North Side named Juan Reyes told me. “Why does the country only listen when white bodies drop?” one sign read.

    A South Side student named Trevon Bosley gave a long list of examples of people who had been killed at home getting ready for school, on a bus coming home from school, in a park after school, playing basketball, celebrating the Fourth of July outside, and, in the case of his own brother, standing on church grounds. “The next time someone else asks you what makes you a possible victim of gun violence in Chicago, you tell them ‘living,’ ” he concluded. Maria Hernandez, an organizer with Chicago Black Lives Matter, criticized local politicians. “These people say they represent us—they don’t talk to us!” she said. Further actions were announced, including a shutdown of the Dan Ryan Expressway, on July 7th, and a hunger strike called Starve for Change.

    In interviews leading up to the Peace Rally, Parkland students had insisted on speaking to the media only in tandem with a kid from Chicago. They claimed that the press was biased toward the privileged children of Parkland, paying too much attention to them and to school shootings, instead of focussing on the coalition they were trying to build, in which every gun death was equal in its tragedy and emergency, no matter the cause or context. They were right about the press focus; a local CBS report I watched emphasized the presence of the Parkland students instead of the home-town base, neglecting to mention Saint Sabina, North Lawndale, the local organizers of March for Our Lives, and their respective messages.

    “Part of the reason we didn’t speak last night was because we can’t,” Hogg said. “We don’t know what it’s like to go to school and have to worry about being shot at. We have to worry about bullets coming from inside of our school, not outside of it. But across America we have to deal with both issues and reconcile that there’s inner-city gun violence, there’s Native American gun violence in the form of suicides, and there’s suburban gun violence in the form of mass shootings. We have to work together to solve these issues as an American community.” This was a good point, and one that I thought might have been more effective if it had been made in front of national reporters and a large crowd of people from different walks of life. I asked if white people in the suburbs could be trusted to listen to the experiences of black people in the cities, to see them as part of a shared national problem.

    “I know they will,” Hogg said. “I have faith that they will.”

    “Exactly,” King said. “No matter the color of skin, no matter where you’re from, pain is pain, so I feel like they will listen.”

    #Gun_control #Racisme #USA #Chicago #Activisme

  • That’s the spirit, Ms. Portman, but it’s just a start
    Gideon Levy Apr 22, 2018 8:24 AM

    Natalie Portman’s refusal to appear at the Genesis Prize ceremony was a huge shot in the arm. Her clarification blunted the force of the step she had taken

    Natalie Portman’s announcement of her decision to boycott the Genesis Prize ceremony was a tremendous shot in the arm. Here it is, coming from the heights of glamor, from a lover of Israel like she is, Jewish, Jewish, Hebrew-speaking, born in Israel, a citizen of Israel and a source of pride for Israel, who has a lot to lose. Not an anti-Semite or a fundamentalist, not extreme right or radical left, not Roger Waters, not even BDS. From smack in the middle, from the heart of the Jewish center: criticism of Israel, the Biblical “wounds of a friend,” even a kind of boycott.

    While “leftist” Israeli artists are scared of far-right rapper “The Shadow” and especially of their own shadow, an artist of her caliber goes and makes a clear statement about Israel. Together with a conscience, a large helping of courage is required for such a step, especially in the face of Jewish, Zionist, ruthless Hollywood, which will neither forgive Portman nor forget.

    Nor will the Israeli right wing forgive her for this: The minister of war (against the BDS movement), Public Security Minister Gilad Erdan, was quick to publish a letter explaining the situation to Portman. What’s happening in Gaza is not because of us, it’s all because of Hamas. The usual propaganda of lies and nonsense, on the very day when Israeli army sharpshooters killed another 15-year-old in cold blood and the photo of Mohammed Ayoub bleeding in the sands of Gaza was made public around the world. It soon turned out that Erdan, like many others, was sure that the slaughter of protesters in Gaza was what lit the fire in Portman’s belly. But that was not the case.

    Portman’s clarification blunted the force of the step she had taken: “I chose not to attend because I did not want to appear as endorsing Benjamin Netanyahu,” she wrote. A great step forward and a small step backward. Netanyahu is indeed a problem, but he is not the problem over which Portman, as a person of good conscience and a Zionist, must make her voice heard. Netanyahu is Israel.

    Portman has come a long way, not only between her first film and her Oscar, but also between the letter she published in the Harvard Crimson 16 years ago defending Israel and denying its apartheid conditions, and the step she took on Friday.

    The change in her, which has apparently taken place in many Jews, is good news, as is her courage. But the road is still long. Portman wrote that she would not come because of “violence, corruption, inequality, and abuse of power.” Not one direct word about the original sin, the occupation.

    Neither is Portman’s protest directed to the right address. It is self-protective to blame Netanyahu for everything. Like most liberal Jews (and Israelis), Portman considers Netanyahu the root of all evil. And what about his predecessors, those who sowed the seeds of destruction and killing in Gaza and in Lebanon, who imposed a cruel closure on Gaza, who strengthened the occupation in the West Bank and tripled the number of settlers – she shakes their hands, just not Netanyahu’s?

    Portman’s media power is enormous. Friday morning her statement on Instagram already had 100,000 “likes.” The Jews breathed a sigh of relief, as did many Israelis. Portman is against BDS and against Netanyahu, but she continues to celebrate “Israeli food, books, art, cinema and dance.”

    With all respect, Ms. Portman, Israeli food, dance and cinema are also tainted by the occupation to a greater or lesser extent. We are all to blame for it. The way to end it, which is the first and essential condition for making Israel a more just country, passes through courageous steps like the one you took, but they must address the core of the inferno and not just its edges; the focus of the cancer and not just its metastases. They must become practical steps, like those the BDS movement calls for. That’s the only way to shake Israel out of its complacency.

    I humbly take my hat off to you for your courage, Ms. Portman. Your direction is the right one; without a tailwind from people like you, nothing here will change. But it’s just a start.

  • on April 14, a letter signed by 500 Latin American Artists will be launched by the Palestinian-led campaign for the boycott of Israel. The artists pledge in the letter to not perform or exhibit in Israel or to receive Israeli funding until it meets its obligations to respect Palestinian human rights. The poets, painters, rappers, theater directors, filmmakers, actors, writers, and musicians who said No to Israel’s human rights violations, come from 17 different Latin American countries.
    Some of the well-known artists endorsing this call for the cultural boycott are Chilean writer Lina Meruane, Colombian photographer Jesús Abad Colorado, Argentine rapper Daniel Devita, Colombian band Doctor Krápula, Chilean writer Carlos Labbé, Brazilian cartoonist Carlos Latuff, Colombian actor Álvaro Rodríguez, and Colombian theater director Patricia Ariza.

  • فيديو كليب (كوشوك) مشاهد حية أثناء #جمعة_الكوشوك #مسيرة_العودة_الكبرى

    English Subtitles included ... #GreatReturnMarch
    لمشاهدة الفيديو بجودة أعلى : https://youtu.be/maxYQn011i4

    إهداء إلى الصديق الحبيب الشهيد الصحفي : ياسر مرتجى

    Palestinian rapper MC Gaza has gone viral after dropping a new track filmed on the frontlines of the ‘Great March of Return’.
    He dedicated the video to his friend Yasser Murtaja, the journalist an Israeli sniper shot and killed.

    Courtesy:Ibrahim Ghunaim - Mc Gaza
    أداء وكلمات : إبراهيم غنيم MC GAZA
    توزيع : رامي صالح
    هندسة صوتية : سمير البورنو
    تصوير : سامي شحادة
    تصوير جوي : أركان غريب
    مونتاج : فارس عبد المالك
    ترجمة : صالح عنبر - ميساء ضو
    شكر : الوكالة الوطنية للإعلام

    إستوديوهات أصايل للإنتاج الفني والإعلاني

  • Drake’s Plan

    Canadian rapper Drake recently went on a giving binge in South Florida. The giving doubled as visuals for his single, “God’s Plan.” What is he trying to say? That’s when we asked around the office. The participants are Sean Jacobs, Dylan Valley, Boima Tucker, Shona Kambarami and Haythem Guesmi. * Sean: What did you make of this?…

  • Refugees Deeply | La réponse hypocrite de l’Europe face à l’esclavagisme en Libye

    Le site d’information indépendant Refugees Deeply apporte un éclairage essentiel aux récentes révélations sur les cas de traitements dégradants infligés à des réfugiés en Libye. Son auteure Giulia Lagana démontre à quel point les responsabilités sont multiples. Dans sa ligne de mire, les politiques européennes de confinement des migrants aux frontières extérieures, au détriment de […]

    • The war on smugglers

      The “discovery” of the video has ignited the press and a consuming public in need of symbolism and scapegoats, a long-standing orientalist trope of Arab slave auctions, which European and African policy makers are now making work for their own objectives. The EU’s primary means to end the “migration crisis” remains an imperial, pink, ham-fisted attempt to militarily disrupt smuggling networks or what they call, Reagan-style, the “war on smugglers.” Watch the not-so-subtle encouragement in this direction apparent in this more recent CNN piece, reporting on France’s “urgent” demand to the UN to consider “sanctions,” and failing that, a more forceful intervention to stop migrants “being sold between human trafficking gangs.”
      To intervene (again), the European branch of NATO needs to plug into a narrative that can find legitimacy in the western press and a sub-section of first world and global middle classes. The revived “slave auctions” being stomped out through a new western moral and military show of force is a tried and tested avenue for this — a cathartic one popularized amongst others by the irrelevant tweeting of aging rapper LL Cool J (“Remove the slave holders by force”).
      Smugglers are the only ticket out of the country for the estimated half a million Nigerian migrants “stranded” in Libya and its detention centers. Except the IOM itself, a UN organization funded largely by the EU, whose renewed mission is to deflect the route to Europe by offering up anything from 400 to 7000 euros to any illegal “economic” migrants willing to be repatriated or return. This counter-payment ecosystem has even led to the rise of scammers posing as the IOM, promising “visa facilitation and transportation assistance, resettlement opportunities as well as job openings and recruitment abroad,” which in the eyes of most migrants is a better try than going back home broke with nothing to show. It also explains why more people have opted for the service of smugglers — and probably fallen for these scams — than have taken up the IOM’s offer of repatriation.
      A prominent figure of “Nigerian twitter” tweeted a Facebook post (a much more popular and less elite-laden platform in Nigeria than Twitter) written by one Ephraim Okonkwo, who reminds everyone: “If you want to help Libya slaves/immigrants, don’t bring them back home. Help them reach their destination in Europe. There’s a very good reason they left home in the first place.” The tweet is followed by a provocation of the avatar Nigerian Troll: “Please run away. Don’t let this Libya propaganda discourage you.” This is a common sentiment I encountered on the streets of Lagos and elsewhere in West Africa: “Of course I want to go to Europe,” “You must suffer for greener pastures,” “Libya is bad but not that bad,” “One merely must pass through quickly.”
      As almost no long-term, independent investigations have been possible in Libya in recent years, it is not clear if conditions have worsened. I believe my impressions from 2015 (also here) are still valid, and so is the new academic research of Paolo Campana. His research is based on the wiretapped mobile phone of heterogeneous smugglers who used the Libya route in 2013-2014. He suggests that that there is solid empirical evidence that there is a “clear separation between actors involved in the provision of smuggling services” from those involved “in kidnapping for ransom and in the ‘management’ of detention centres.” This “goes against narratives that conflate these separate sets of activities.”


  • Eminem Rips ’Kamikaze’ Trump Over NFL, Gun Control and Puerto Rico in Shocking Freestyle | Alternet

    Eminem, the rapper who built a deeply problematic career by portraying a misogynistic villain, is letting the world know via freestyle that he actually “f*cking hate[s]” President Donald Trump and disavows everything the president’s been doing.

    The explosive segment comes courtesy of the BET Hip-Hop Awards.

    The diss is notable, given Eminem’s huge popularity with the white male demographic that voted for Trump.

    #Politique_USA #Eminem #Trump

  • Trump Is on Track to Insult 650 People, Places and Things on Twitter by the End of His First Term - The New York Times

    Intéressante étude statistique (données au 25/07/17) sur les tweets insultants du #POTUS

    Six months into his presidency, President Trump continues to use his Twitter account to insult people. Increasingly, those people are journalists. His attacks against the news media are at their highest frequency and intensity since he took office.

    In recent weeks, more than half of his insults have been directed at the media in some way, and the rate has been increasing for weeks amid recent reports that the White House is seeking to discredit journalists reporting on the allegations of collusion between Russia and members of the Trump campaign.

    As president, Mr. Trump has insulted the media with comments on Twitter like “dishonest”, “Fake News”, “phony”, “sick”, “DISTORTING DEMOCRACY in our country!”, “highly slanted”, with an “agenda of hate”, “phony sources”, “fabricated lies” and “the enemy of the American People.”

    (toutes les données des graphiques sont lissées par une moyenne mobile sur 30 jours)

    par cible

    par cible, en pourcentage

    nombre de personnes distinctes visées
    (étonnamment, il arrive à renouveler ses cibles dont le nombre croît avec une grande régularité,… d’où la prévision du titre)

  • If SoundCloud Disappears, What Happens to Its Music Culture? - The New York Times

    After the layoffs, the technology blog TechCrunch published a report claiming that SoundCloud had enough money to finance itself for only 80 days. Though the company disputed the report, the possibility that SoundCloud might disappear sent a shock through the web. Data hoarders began trying to download the bulk of the service’s public archive in order to preserve it. Musicians like deadmau5, a Canadian electronic-music producer, tossed out suggestions on Twitter for how the company could save the service. Chance the Rapper tweeted: ‘‘I’m working on the SoundCloud thing.’’

    Since its start in 2008, SoundCloud has been a digital space for diverse music cultures to flourish, far beyond the influence of mainstream label trends. For lesser-known artists, it has been a place where you can attract the attention of fans and the record industry without having to work the usual channels. There is now a huge roster of successful artists who first emerged on SoundCloud, including the R.&B. singer Kehlani, the electronic musician Ta-Ha, the pop musician Dylan Brady and the rapper Lil Yachty, to name just a few.

    The death of SoundCloud, then, would mean more than the sunsetting of a service: It could mean the erasure of a decade of internet sound culture, says Jace Clayton, a musician and the author of ‘‘Uproot: Travels in 21st-Century Music and Digital Culture.’’ He reminded me of an online music service called imeem, which MySpace bought in 2009 in the hope of absorbing its 16 million users into its own platform. But the struggling service shut down, and all the music uploaded and shared to it was lost, including what Clayton recalls to be a very eclectic subset of black Chicago house music. ‘‘What does it mean if someone can delete hundreds and thousands of hours of sound culture overnight?’’ he asked.

    SoundCloud always let me get lost in a warren of music that I’d never heard — or even heard of — before. Once, it was Japanese trap songs. Another time it was Ethiopian jazz music. It somehow manages to evoke some of the most appealing features of offline music culture, like browsing through bins in a record store or catching indie acts at an underground club.

    SoundCloud took a community-first approach to building its business, prioritizing finding artists to post on its service over making deals with music labels to license their music, the approach taken by Spotify. The music industry was still in the process of adapting to a digital ecosystem when SoundCloud emerged; illegal file-sharing was rampant. But when the industry finally began squelching unauthorized distribution of artists’ tracks, SoundCloud was hit hard. D.J.s were also told to take down mixes of songs they didn’t own the rights to, and many of the remixes the site was known for were removed. SoundCloud ‘‘was very much built in the dot-com-era mentality of building an audience and then finding a way to make money,’’ Mark Mulligan, a music-industry analyst, told me. SoundCloud struggled to monetize the service. Artists who paid to be featured on the site balked at having ads run against their music, and when the company introduced its own version of a subscription service, called Go, the response was tepid. How do you persuade people who have been using your services free to start paying $5 or $10 a month?

    For the most part, streaming services feel sterile and devoid of community. Spotify, Tidal and even YouTube to a degree are vast and rich troves of music, but they primarily function as search engines organized by algorithms. You typically have to know what you’re looking for in order to find it. They have tried to remedy that drawback with customized playlists, but still they feel devoid of a human touch. Serendipity is rare.
    By contrast, the most successful online communities, like SoundCloud, have the feel of public spaces, where everyone can contribute to the culture. They feel as if they belong to the community that sustains them. But of course that’s not how it works. In ‘‘Who Owns Culture?,’’ Susan Scafidi writes: ‘‘Community-generated art forms have tremendous economic and social value — yet most source communities have little control over them.’’

    #Musique #SoundCloud #Streaming #Culture_Participative

    • 150 extraits de: 2 Pac, 50 Cent, A Tribe Called Quest, Afrika Bambaataa, Audio Two, AZ, Beastie Boys, BG, Big Pun, Biz Markie, Black Rob, Black Sheep, Blackstreet, Bobby Shmurda, Boogie Down Productions, Busta Rhymes, Cali Swag District, Cam’ron, Chamillionaire, Chance The Rapper, Clipse, Common, Craig Mack, Cypress Hill, David Banner, De La Soul, Dead Prez, Digable Planets, Digital Underground, DJ Jazzy Jeff & The Fresh Prince, DJ Kool, DJ Quik & Kurrupt, DMX, Doug E Fresh, Dr. Dre, Drake, Eazy-E, Eminem, Eric B. & Rakim, Funky 4+1, Gang Starr, Geto Boys, Grandmaster Flash & The Furious Five, GZA, House of Pain, Ice Cube, J-Kwon, Jadakiss, Jay Electronica, Jay-Z, JJ Fad, Juvenile, Kanye West, Kendrick Lamar, Kid Cudi, KRS-One, Lauryn Hill, Lil Jon & The Eastside Boys, Lil Kim, Lil Troy, Lil Wayne, LL Cool J, Ludacris, Madvillain, MC Shan, Meek Mill, MF DOOM, Missy Elliott, Mobb Deep, Montell Jordan, MOP, Nas, Naughty By Nature, Nelly, Nicki Minaj, Notorious BIG, NWA, Ol Dirty Bastard, Outakst, Pete Rock & CL Smooth, Petey Pablo, Pharaohe Monch, Public Enemy, Puff Daddy, Quad City DJs, Rich Boy, Rick Ross, Rob Base & DJ E-Z Rock, Run-DMC, Salt N Pepa, Scarface, Schoolly D, Sir Mix-A-Lot, Skee-Lo, Slick Rick, Snoop Dogg, Soulja Boy, Sugarhill Gang, T La Rock, T-Wayne, T.I., Terror Squad, The Fat Boys, The Fatback Band, The Fugees, The Game, The Pack, The Pharcyde, The Roots, Three 6 Mafia, Tone Loc, Tyga, UGK, Usher, UTFO, Warren G, Whodini, Wreckx-N-Effect, Wu-Tang Clan, Ying Yang Twins, Young Gunz

      La liste est là: https://genius.com/11975674