Close to the Edge: In Search of the Global Hip Hop Generation
Sujatha Fernandes
Language: English
Pages: 216
ISBN: 1844677419
Format: PDF / Kindle (mobi) / ePub
At its rhythmic, beating heart, Close to the Edge asks whether hip hop can change the world. Hip hop—rapping, beat-making,b-boying, deejaying, graffiti—captured the imagination of the teenage Sujatha Fernandes in the 1980s, inspiring her and politicizing her along the way. Years later, armed with mc-ing skills and an urge to immerse herself in global hip hop, she embarks on a journey into street culture around the world. From the south side of Chicago to the barrios of Caracas and Havana and the sprawling periphery of Sydney, she grapples with questions of global voices and local critiques, and the rage that underlies both. An engrossing read and an exhilarating travelogue, this punchy book also asks hard questions about dispossession, racism, poverty and the quest for change through a microphone.
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message of black solidarity. Local chapters sprung up in Britain and Japan, where Bambaataa toured in 1985. In Brazil adherents like King Nino Brown preached “knowledge of self” and experience as the foundations of hip hop.1 Bambaataa imparted an Afrocentric and socially conscious ethos to his global hip hop followers. Bambaataa's mission, to forge a global hip hop community, echoed the aspirations of the Pan-Africanist Marcus Garvey. His mission was taken up by the next three generations. Chuck
crying too, and we were both crying, tears of frustration and impotence and sadness. I imagined that Lily was crying as she remembered the nights that she spent here at the Hotel Riviera with her husband for only forty pesos a night after the revolution opened up Cuba's grandest hotels to the poor, a hotel that now she couldn't even enter. I imagined she was reminded of that husband, who left her as a young bride to raise their son on her own. I was crying because Lily was right. It finally
with basic analog methods like direct drive turntables or cutting tape. Khaled's first piece of equipment was a four-track tape recorder that allowed him to record four tracks on a quarter-inch cassette by combining sides A and B and splitting the left and right channels. He found the break beat that he wanted to use, recorded it on track one, and looped it by manually inserting it over and over. Then he rewound the tape and played track one while recording another sample on track two. He worked
of the barrio buildings. “Just keep walking,” Johnny would say. “Don't give them eye contact.” Aella le gusta la gasolina, Da me mas gasolina, Como le encanta la gasolina, Da me mas gasolina.” The infectious, grinding reggaeton of Daddy Yankee played over and over on the minitecas—the portable DJ stands that lined the crosswalk from Ríbas to the El Valle metro stop. The minitecas were interspersed among individual stalls piled high with underwear, jeans, children's toys, electronics, and candy.
as hip hop production and performance itself. In many respects these artists are also coauthors of this text. There are several friends who helped facilitate my entry into these hip hop worlds and supported my visits around the globe. Lilia Cruz Marin and Norma Guillard Limonta were my companions and collaborators in Havana. Yajaira Hernandez and Johnny Moreno provided a place to stay and delicious arepas in Caracas. Anurima Bhargava introduced me to her hip hop people in Chicago. Antoinette