That they were like all one thing in a way coming from the same place, the same vibe but nobody then was seeing it as all being connected. Less credible but much more widely distributed, Beat Street was a cheap Hollywood product designed to exploit the commercial appeal of the new phenomena.
Notwithstanding this and in spite of the artificiality of a link that was driven by money and unrelated to the participant cultures, graffiti and the other components of hip-hop were close in space and time, were products of the same cultural context, and shared some important concepts. In his article that first linked graffiti and rap, Richard Goldstein supported his idea holding that both phenomena had originated in the same cultural conditions.
Graffiti, rap and breakdance were indeed products of the same reality: that of the pre-teens, teenagers, and young people of the deprived areas of New York, a city undergoing the most difficult years of its recent history. But there were more significant aspects shared by the three cultures.
The most prominent of them would beyond question be internal competition — the core mechanism and engine of all of them. This competition through artistic skills, athletic feats, and displays of tenacity functioned as a symbolic confrontation that sublimated the real violence of street gangs, pervasive in the city up to the mid-seventies.
Through this process of sublimation, the emergence of the cultures that would be grouped under the hip hop label was one of the main factors in the decline of street gangs. The tendency to self-glorify and to assume fantastic identities by adopting spectacular aliases is common to them all as well. Finally, it must be noted that the international circulation of the aforementioned media products firmly established the link between graffiti and hip hop in the consciousness of teenagers worldwide.
Many of the first generation writers of Europe, Australia or the United States consider this link to be a pivotal element in their experience of graffiti. This is because it was through said products that these writers had their initial contact with graffiti, therefore they conceived it from the start as an inextricable part of hip hop. Furthermore, the link has been persistently repeated by the media for almost 30 years and as such, has deeply permeated the image that society has of graffiti.
In spite of the historical truth and despite that a significantly substantial number of the practitioners of graffiti in the New York tradition, both in New York and beyond, have never identified with hip hop, the perceived link persists. New York Magazine , 25 June Wax Poetics , New York, spring Troy L. Smith: op. ISSN Toggle SlidingBar Area.
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Published in Madrid on 8 November About ten years after its inception around , graffiti culture started to be linked with hip-hop, a concept coined by the media to facilitate the commercialisation of graffiti and other contemporary cultures. I thought if this was all put in a movie, we can connect it all together. Henry A.
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Be the first to write a review About this product. Containing four hundred essay-style entries, and covering the period from to the present, The Concise New Makers of Modern Culture includes artists, writers, dramatists, architects, philosophers, anthropologists, scientists, sociologists, major political figures, composers, film-makers and many other culturally significant individuals and is thoroughly international in its purview.
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