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Thread: Hip Hop and Its Influence on Germanics

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    Hip Hop and Its Influence on Germanics

    Iceland and Hip Hop:
    Iceland and Hip Hop probably aren’t the likeliest of pairs but you’d be surprised at the level of appreciation Icelanders have for the urban music scene. [...]

    The documentary From Oakland to Iceland: A Hip Hop Homecoming which follows DJ Platurn on his homecoming tour of Iceland last year is set to premiere on the 9th of May this year in Reykjavík. Written, directed and produced by Bylgjan’s (a popular Icelandic Radio Station) only female radio host Ragga Magnúsdóttir.

    Apparently she was so passionate about the project she even sold her car to fund it, now opting for a bicycle to get around our frosted rock of an island. Impressive by any standards but especially so in Reykjavík where the threat of hypothermia or death by giant 4x4’s looms around each corner. [...]
    Read more...

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    Not surprising really, European countries seem to eat up sh---y American-Negro 'culture', especially so in countries that don't have many blacks.

    We are born to fight and to die and to continue the Flow
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    Tolerance is the virtue of the man without convictions.

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    Well, you know what they say: exactly 50% of people are always of below average intelligence.

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    Iceland and (UGH !) Hip Hop

    Oh, Lordy ! Have we corrupted Iceland, too ?

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    Quote Originally Posted by Soldier of Wodann View Post
    Not surprising really, European countries seem to eat up sh---y American-Negro 'culture', especially so in countries that don't have many blacks.
    But why is this true? Most American whites over 18 years old reject hip-hop outright. Only white American teens and pre-teens imitate this lifestyle and music.

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    Oh great, there goes my thought that Iceland would at least be free from that kind of music.

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    Quote Originally Posted by Dr. Solar Wolff View Post
    But why is this true? Most American whites over 18 years old reject hip-hop outright. Only white American teens and pre-teens imitate this lifestyle and music.
    Sadly, I don't think this is true. Many don't listen to hip-hop and only hip-hop but they do listen to it and enjoy it whenever its in a party or club. It's become the only way to party nowadays. I go to college and you can't go to a party that doesn't play only rap...unless you go to one of my parties that is .

    I think that this is a huge problem. Someone needs to either bring back a musical genre that people will party to or create something new from our own culture that will get people away from the idea that somehow you can only party with rap music. That's why I like European techno and electronica (Kraftwerk, anyone?). It has good beat and rhythm that people from the "party = rap" mindset will appreciate and it helps break them out of the cycle of "when I go to a party I should hear only rap".

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    When I party, I party with a good book and Franz Liszt pumpin'.
    "For the authentic revolutionary conservative, what really counts is to be faithful not to past forms and institutions, but rather to principles of which such forms and institutions have been particular expressions, adequate for a specific period of time and in a specific geographical area." Julius Evola - Men Among the Ruins

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    After reading this article, I spied on some Icelanders at lastfm.com. There is one girl who lists hip hop as a music interest--out of more than 2,000 Icelandic profiles. She didn't actually listen to any hip hop in the last week. She did listen to a few rap songs, but mainly she listens to Coldplay and the Beatles.

    It seems that most people in Iceland listen to Radiohead and Sigur Rós and the like. I wouldn't make too big a deal out one dj from the Bay area. If hip hop was really that popular in Iceland that girl wouldn't have had to sell her car to make the documentary.

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    Dear Dr. Solar Wolff,

    If it is accepted that the hippity hop functions as an expression of social consciousness, then its popularity is no different to that of calypso in the 1950s - as a part of the development of a modern Anglocentric ethos. Assuming some familiarity with American history, you've likely heard of Édouard Glissant. Both the art forms resemble what he called "natural poetics", a diasporic nationalism facilitating the most daring or the most artificial of experiences. It evolves around the interplay between processes of recognition and disavowal, resistance and transformation; and therefore it is potentially revolutionary or anti-establishment, even as it is also a stabilizing or consolidating representation of everyday existence.

    Natural poetics enforces a reductive, homologous logic that usually compresses and blurs a series of variables that include ancestry, age, class, and sexuality in the interest of promoting a notion of the whole; and it rarely, if ever, applies to a specific stratum of migrant communities. With respect to a regional music, the unspoken presumption is its symbiotic tie with a collective identity. In other words, an expressive mode like the hippity hop can, voluntarily or not, become a signifier for an emergent people, provided there is a gulf that separates the diaspora from its originating homeland/s.



    http://www.africaresource.com/proudf...ue3/samuel.htm

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