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Movimiento No2.Qxd JUSTICIA / CHUCHO VALDÉS / KRS ONE / SANTIAGO RAP / ORISHAS JUSTICIA / CHUCHO VALDÉS / KRS ONE / SANTIAGO RAP / ORISHAS #2 #2 La Revista La Revista Cubana Cubana de Hip Hop de Hip Hop ISSN 1811-8682 ISSN 1811-8682 #2 EN ESTE NÚMERO... O R A G D E : I T I F F A R G EDITORIAL 2 5 15 183025 La historia del rap. Segunda parte / original de Kurtis Blow / 2 ¡Aquí estamos!... Volvemos, insistiendo en el valor de la cultu- La fabri_K: Obreros de la construcción y embajadores de la ra hip-hop, en el trabajo de aquellos que la vamos construyendo e insertando en la vida cultural cubana. El desafío de hoy está en ir creación / por Joaquín Borges-Triana / 5 explicándola y viviéndola más acá y más allá de los barrios y de las aulas, del ghetto y de los teatros, en el mundo entero: es una LA PLACA Y EL CARTEL / 10 explicación cómplice -más bien una implicación-, porque es una 36 42 tarea colectiva y también un compromiso individual que va del yo HITS-HOP / Justicia / 13 al ustedes, del nosotros al tú y regresa a mí mismo; pero sin tra- SIRVIÓ O NO SIRVIÓ /¿Qué es el rap para Chucho Valdés? / 14 balenguas, con mucho flow, conciencia y -por supuesto-, con MOVIMIENTO. El activismo social hacia nuestras comunidades que El indiscreto encanto del reggaetón. A propósito de una explosión puede desatar el movimiento rapero cubano es una idea tremen- damente provechosa y explosivamente positiva que aún no ha en el campo cultural latino / por Raquel Z. Rivera / 15 sido valorada con respeto y despojada de todo prejuicio; pero es Encuentro entre amigos / 18 una de las propuestas más orgánicas de esta movida sociocultural en que militamos. DE LIBROS / por Víctor Fowler / 24 Esta es la cadencia que traemos en la segunda vuelta. Como verás, queremos huir de todo aldeanismo entrando en las dimen- Explosión Suprema: Los raperos del terror / por Ismael González siones originales de la cultura hip-hop; su agresivo sentido de per- Castañer / 25 tenencia a una comunidad, sus profundos y abiertos replantea- mientos identitarios y su sonido transnacional. Por eso en este Krs-One: El Templo y la Declaración de Paz del Hip Hop / por Ariel segundo número de MOVIMIENTO se ilumina el mapa del rap cubano desde Santiago de Cuba, abrimos la puerta al debate Fernández Díaz / 30 sobre el reggaetón, al Templo del Hip-Hop -significativo espacio de ideas no suficientemente conocido todavía entre nosotros- y a DE REVISTAS / 35 su Declaración de Paz, y lanzamos un grito de entusiasmo por el KILÓMETRO 1000... / Cara A / Sospechosos habituales (Algunos Grammy a Emigrante, el disco de Orishas, en verdad un grito soli- tario; ...y volvemos a gritar, pero ya no en el desierto, sino en un REVISTA DE LA AGENCIA CUBANA DE RAP apuntes sobre el hip-hop en Santiago de Cuba) / por Julio César ambiente sonoro -ruidoso para algunos- en que la discografía AUSPICIADA POR EL INSTITUTO CUBANO rapera cubana va in crescendo y nos va ilustrando el oído con todo DE LA MÚSICA. MINCULT/ RNPS 0509 Jiménez y Herson Tissert / 36 lo nuevo que llega desde los sótanos y los márgenes de la música COAUSPICIADA POR LA AHS KILÓMETRO 1000... / Cara B / El Rap en Santiago de Cuba: Causas y cubana. PUBLICACIÓN TRIMESTRAL / AÑO 2 / No. 2 Para explicarse el sentido underground en que sobrevive el CALLE PRIMERA NO. 1010 E/ 10 Y 12 MIRAMAR. azares / por Grizel Hernández Baguer, Liliana Casanella Cué más variado sonido rapero cubano, no hay que acudir necesaria- TELÉFONO: 206 4068 / 206 6370 mente a definiciones académicas, ni traidas por los pelos desde EMAIL: [email protected] y Neris González Bello / 42 una mirada ajena, sino en el modo que elaboramos ese sonido MOVIMIENTO / APARTADO POSTAL 6613 CP 10 600 desde las grabaciones domésticas -algunas ya imprescindibles PRECIO: $ 10.00 MN / 3.00 USD LA RAPÁNDULA / 48 para explicar la historia y evolución del rap en Cuba-; elaboración cultural que se produce en ciertos márgenes de la sociedad; pero vale aclarar que no es cultura marginal, sino muchas veces margi- FOTOS DE PORTADA Y CONTRAPORTADA DIRECTOR ARIEL FERNÁNDEZ DÍAZ / EDITORA JEFA ELVIRA RODRÍGUEZ PUERTO / nada. Y a través de dichos sonidos, logrados con escasas posibili- / ARIEL ARIAS JIMÉNEZ REDACCIÓN SADY ÁLVAREZ REYES / DISEÑO puntáG ( NELSON PONCE Y JORGE FERRET VINCENCH)/ dades tecnológicas, se ha venido legitimando una manera de DIRECTOR DE FOTOGRAFÍA ARIEL ARIAS JIMÉNEZ / CORRECCIÓN MARTA LESMES / HACER; nuevas formas de creación independientes y alternativas, TODOS LOS DERECHOS RESERVADOS COMERCIALIZACIÓN Y RELACIONES PÚBLICAS ALEXANDER PÉREZ promocionales, cuya originalidad siempre apunta hacia un público CADA AUTOR ES RESPONSABLE DE SU OBRA. con el que estamos en deuda y del cual nos sentimos responsa- SE ACEPTAN COLABORACIONES. CONSEJO EDITORIAL: RUBÉN MARÍN/ MAGIA LÓPEZ Y ALEXEI RODRÍGUEZ / SEKOU UMOJA/ YRAK bles ahora mismo y mañana. ¡Y pa' mañana es tarde! Por eso esta- SAENZ / JOAQUÍN BORGES-TRIANA/ ROBERTO ZURBANO/ TOMÁS FERNÁNDEZ ROBAINA/ PABLO mos aquí, hoy, otra vez, en MOVIMIENTO! M FOTOMECÁNICA E IMPRESIÓN: HERRERA VEITÍA/ VÍCTOR FOWLER/ ISMAEL GONZÁLEZ CASTAÑER/ TANIA CAÑET/ YESENIA SÉLIER/ MERCI GROUP CORPORATION S.A. TATIANA CORDERO/ GLORIA ROLANDO/ MAIKEL GARCÍA/ GRIZEL HERNÁNDEZ/ WILLIANS FIGUEREDO SEGUNDA PARTE DJ Hollywood se convirtió en todo un héroe popular por su gran talento. El hombre tenía realmente estilo y clase únicos. Después le siguió DJ Junebug -tan excepcional como Pete DJ Jones y DJ Grand Master Flash- quien murió trágicamente víctima de la vio- lencia callejera, en los comienzos de los ochenta. Grand Master Flash conocido como Joseph Saddler, ganaría su seudónimo gracias a su gran velocidad en los tocadiscos, alcanzando su estatus legendario en el mundo del hip hop justo cuando el reinado de Kool Herc finalizaba. Era un B-boy extremadamente fiel, su estilo peculiar de manipular los platos lo llevó a un nivel superior al de Herc. Él fue el primero (aunque muchos se lo atribuyen a The Grand Wizard Theodore, de lo que personalmente discrepo) en utilizar el scratching y el cutting con dos discos y mante- niendo el break continuamente y así, reestructurando la canción y creando y extendien- do el tiempo instrumental sobre el cual el emcee podía entretener al auditorio con sus raps. Flash estudió las técnicas de Kool DJ Herc, Grandmaster Flowers, Maboya, Plummer, y Pete DJ Jones. Pero fue deseo de Flash emular con el estilo de Pete, mientras tocaba M-7 LA THE FUNKY FOUR + ONE la música "antidisco" favorecida por Herc que lo llevó a sus experimentaciones en los turntables y llevó al hip hop a un nuevo escaño. En 1974 Flash comenzó a hacer fiestas en los barrios donde ganó reputación sufi- ciente para pasar solo a la historia del movimiento. Dos años después se unió al rapero M-6 Keith Wiggins (pronto conocido como Cowboy) y ambos extendieron su fama en el sur del Bronx. En el 76 se unieron Melle Mel (Melvin Glover), Kidd Creole (Nathaniel Glover), Mr Ness-aka Scorpio (Eddie Morris) a Flash y Cowboy, y luego Rahiem (Guy Williams). ¿Quién diría entonces que ellos se convertirían en el primer grupo de rap de los comien- zos de los 80? Sus discos Grand Master Flash y The Furious 5 ganaron inmenso recono- cimiento con varios éxitos. KURTIS BLOW HIS No tuve la oportunidad de conocer a Flash hasta finales del 77, porque me encontraba bastante ocupado como DJ y MC haciendo shows en discotecas y en los alrededores de Nueva York. Cuando lo vi actuar en el Hotel Diplomat, tenía un reflector en sus manos. Él tenía anillos en cada dedo, y el reflejo de las luces en sus sortijas hacía parecer como si sus manos estuvieran chispean- do cuando cambiaba los beats. Él era el más increíble DJ de ese momento; y me incitó a regresar a la escuela B-Boy del hip hop. Fue como un sueño hecho realidad; finalmente tuve la oportunidad de trabajar con Flash & The Furious 5, en 1978. Éramos llamados Grand Master Flash & The Furious 7 (Kool Kyle era el 7mo MC). África Bambataa es una leyenda en el hip hop. Iniciador del movimiento desde TORIA 1972, él es cariñosamente conocido como el "abuelo o padrino del hip hop". Bambataa fue el líder de la banda The Black Spades, el fundador de la Nación Zulú, una organiza- ción dedicada a la paz, el amor y la unidad. Se dice que la Nación Zulú tiene una mem- bresía mundial de más de 400 000 personas, incluyendo a algunas de las estrellas más sobresalientes de la música rap. Distinguido como "el master de los beats", Bambataa es reconocido también por más de 25 discos en su haber. Su canción “Jazzy Sensation”, expresaba el sabor de la calle en el rap, lo que hacía furia en el gusto de aquellos tiem- pos. Los raperos Mr. Biggs, Pow Wow y MC Globe aparecen en ella y la canción fue pro- ducida por el DJ Legend Jazzy Jay. Su éxito de 1982, "Planet Rock", es aún uno de los samplers de referencia standard para cualquier iniciado en el desarrollo musical del rap. EL He hablado de Flash y de Bambataa, tal vez con cierto énfasis, porque verdadera- D mente ellos fueron muy influyentes durante los inicios. Como pueden ver, hay muchos artistas quienes demandan legitimar su contribución a la génesis de la música rap. “THE HISTORY OF RAP”, Escoge tu favorito. Por mí parte, yo los amo a todos. Al final, todos estamos en el mismo ORIGINAL DE KURTIS BLOW. bando, piezas de un mismo rompecabezas que es la historia del rap -aún hoy, muchas ACIÓN TRADUCCIÓN Y ADAPT personas no son conscientes del desarrollo que tuvo el hip hop antes de 1979- y por tal por Tania Oyarzo-Hinojosa razón, he querido relatársela con lujo de detalles, según mi experiencia personal.
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