RE-VOLT MAGAZINE ISSUE 07 - May 2014

ISSUE 07 • MAY 2014

YOUR MONTHLY SOURCE OF REAL HIP-HOP CULTURE

re-volt magazine is a new platform under the same roof as re-volt blog, which initially started as a space where views on mainstream music can be openly discussed, where the music industry is put on the stand and criticized, and lastly, where underground, talented unrepresented artists are given a chance to stand out.

Our main focus is to expose hip hop as a positive genre and detach it from the corrupted mainstream hip hop.

Starting up an online magazine will benefit this message, as re-volt magazine will reach more readers worldwide and will enlighten people on the power of the word and the role of hip hop in the Arab region.

Aside from the well-known elements of hip hop - which are MC, BBoy, Beatbox, Graffiti, DJ and Knowledge re-volt magazine also focuses a great deal on any other forms of expression/art that concretize the richness of our Arab culture.

The list includes films, documentaries, initiatives, events, companies, charity organization, etc...

A mic, a choreography, a vocal percussion, spraypaint, a vinyl record, a book or a film...

We choose all the above.

The power of the word to inform, to represent and to stay real!

EDITOR HASSANE DENNAOUI ASSOCIATE EDITOR | GRAPHIC DESIGNER Hanane FATHALLAH CONTRIBUTORS If you’re interested to write for re-volt magazine, email us revoltmag1@gmail.com

CONTENTS REVOLT/REPORT The African Hip-Hop Generation Arrives

by Blitz the Ambassador Le SLAM by Karmel FEATURE Native Sun Jon HOPE Molly CRABAPPLE Remi KANAZI ODDISEE EXPO \\ Karim JABBARI Paul PORTER SPOT.F.Y.I Laith AL ABBAD GHOFRAN LOCAL FLAVA’ AL HAMORABI Khalid ALSOMALI Big Mo ALBUM RELEASE JON TARIFA | FREE TO BE L-FRESH THE LION | ONE CARTOONS MAD MAN by KHARTOON! ON THE GO Q&A | Mark Anthony NEAL Q&A | Sadiece HOLLAND Q&A | RUN JUNXION Q&A | Khaki MUSTAFA FILM & DOCUMENTARY HERITAGES (Mirath)

Cover Artwork Revolutionary Woman with Brush (2007)

by Shepard FAIREY http://obeygiant.com

FEATURE | NATIVE SUN

native sun HIPHOP AFRO RHYTHMS & SOUL

Native Sun is a London based duo consisting of bilingual rapper Mohammed Yahya, born in Mozambique, South East Africa and singer-song writer Sarina Leah born in London with Caribbean roots. Joining forces in 2010 Native Sun was born fusing Hip Hop and African rhythms with the aim of promoting a positive message of Universal Peace, Equality, Social Justice and Environmental Change.

Both artists over the years have received a great deal of publicity through collaborations on a variety of compilation CDs, Albums, International Tours across Europe, Africa and U.S., features of on a wide range of publications as well as TV appearances from UK based TV Channels such as BBC and ITV to Channels across Europe. Now together, Native Sun’s sweet melodies fuse addictive head bouncing Hip Hop undertones, conscious bilingual lyrics and catchy hooks perfect for a climate in need of an uplifting message.

1. In your opinion, where do you see the state of Hip-Hop now?

(Mohammed Yahya) I think that this is a very complex question with multiple layers. On one hand, it saddens me to see the way Hip Hop is being represented in commercial TV stations in such a one dimensional manner, from the continuous degrading and misogynistic portray of women in music videos to the endless violent glorifying lyrics. On the other hand, I love the way Hip Hop has become a global voice of marginalized communities not just in America but all over the world, from Mozambique to Palestine to Syria, wherever oppression, corruption and injustices takes place the voice of the people is usually represented through Hip Hop. 2. Was there one moment that made you want to form Native Sun? (Sarina) Native sun seemed to form so seamlessly and organic i don’t think we even realised it happened until the album was finished. Incredibly rapid we found ourselves at SXSW on tour with Nomadic Wax for our first Solid set of shows as a group in the U.S. Our longstanding friendship has made collaborating comfortable and effortless and so when Mohammed presented the idea of fusing african sounds with hip-hop music i was thinking wow this is Fresh i’d love to Collaborate and try singing on songs like our track Legacy for example. That was a new vibe for me personally as a Neo-soul singer at the time. Once everything flowed Native Sun was born by commitment to share a message, hunger and a creative vision to make music which lasts.

3. What is/are your dream performing stage?

(Mohammed Yahya) I don’t think I have a dream stage, for me it’s not so much about the performing spaces but more about the engagement with global communities that have inspired me musically.

4. Do you believe that Radio Play is as important as before?

(Sarina) Erm, well thats a great question as music-sound outlets have changed so rapidly over the last ‘say’ 15 years and most things are online now, from podcast, personalized playlists to online radio shows.

There is so much choice and so many ways to find and listen to music - also the way people listen to music has changed too so its a very interesting thing to ponder on.

I feel wherever the people are connected to listening to music the artist will strive to be present as so yes it’s still a valuable tool for communication, it provides artist royalties and in perhaps poorer communities a radio would be seen as a luxury and so the station would provide global news as well as music, so compared to ourselves in the UK, we have multiple ways to access music or news and so i feel its still important if its still present in communities who don’t have access to download our music, or see us live and our sound can connect.

FEATURE | NATIVE SUN

5. Who inspired you growing you up?

(Mohammed Yahya) I was inspired by many musicians from different genres; the first musician that I became fascinated by was probably my father who used to grew up regularly hearing him sing at home, in my household we listening to a lot of African Music such as Bonga, Nimon Toki lala and a lot of music from Brazil. In terms of more popular music I loved Michael Jackson, as a young black boy growing up in such a racist city such as Lisbon back in the 80s I was heavily empowered to see a successful, cool young black man in my TV screen. In terms of Hip Hop we could go on for hours, from Public Enemy to Common, from Wu Tang Clan to Dead Prez and Big Pun, I had a wide spectrum of rappers I listened and related to for different reasons.

8. Tell Re-Volt Magazine something not a lot of people know about you.

(Sarina) Before forming a group, way back in 2002 mohammed used to be in a all-male hip-hop group called Blind Alphabetz and whilst i was studying fashion design at Westminster university Mohammed asked me to print up some t-shirts for his band with their logo. So i remember creating a print screen and screen printing them up for him, unknown that 10 years later we would be in a group called Native Sun touring different parts of the world LOL .

6. Why Hip-Hop? (Mohammed Yahya) Because Hip hop is a global voice that represents the often forgotten marginalized communities all over the world, because I grew up at a time where this was the music that resonated and represented me, empowered and educated me in ways that the school systems has completely failed to do so.

Interview by Hassane DENNAOUI a.k.a. Big Hass revoltmag1@gmail.com

7. What are you currently working on?

(Sarina) we are currently working on our second albumcalled Mother tongue, with new flavours, new styles and new languages as i am singing in my actual mothers tongue being Kwèyòl from St Lucia. We have worked with some great producers and artist collaborations and so are far in the process of filming new videos too.

[FOLLOW NATIVE SUN] http://www.nativesunmuzik.com

LOCAL FLAVA’ | JON HOPE

Q&A

Blood Streaming Hip-Hop

JON HOPE 1. How did you get started in Hip Hop? I really can’t remember how I got started. It was just apart of my environment. Hip Hop pretty much was the soundtrack to my life. I always wrote rhymes and mimicked some of my favorite artists when I was a child.

I was just in awe that there were people who lived the same life I was living at the time and it was cool to get a different perspective on the same shit. In a lot of ways Hip Hop developed me and the artists gave me a set of rules that I live by to this day.

2. Who were your musical inspirations and do you have a favorite album of ALL time?

I’m all over the place so it’s not limited to just Hip Hop. Nas has had an impact on me. Drake is an incredible writer. I love Sara Bareilles and singer songwriters like James Fauntleroy so it definitely varies. As far as my favorite album of all time it’s a toss up between Kanye West’s ‘My Beautiful Dark Twisted Fantasy’ and Nas’ ‘Life is Good’.

3.You recently released “Blood Streams” I wish I had this elaborate and crazy answer for how I come up with the lyrics but honestly the majority of it is poetry in motion and just happens. I had a studio session on a Sunday morning and the night before I just wrote it right before I went to sleep. It’s really a stream of consciousness if you will. Once I got the first line down I couldn’t stop the pen. Now that doesn’t normally happen but that night it did and I knew I had something special with that verse because the flow was more

conversational than trying to emphasize punchlines and metaphors. It was one of those things where I wanted the focus to be on what I was saying and that’s it which is why I decided to o with no beat.

4. What is real hip hop to you?

I really cringe at that phrase because it’s all relative to whoever the person is and it usually leads into the whole this whole debate about whats real and what isn’t. I will say that I respect and gravitate to art that is rooted in truth. The successful ones that we all look up to are the ones who always remain truthful to who they are and their thoughts. That’s why I respect Kanye West, Drake, Jay-Z, Kendrick, Nipsey, and so many others. Even Chief Keef is telling his truth which is why he’s so polarizing. So for me its more about honest art than real hip hop.

5. Please provide 1 word next to the below names: Nas - Transparent Tupac - Misunderstood Biggie - Smooth J Dilla - Underrated DJ Premier - Blueprint Lil wayne - Rockstar Erykah Badu - Queen Jay-Z - Greatest 6. Where do you see the state of hip-hop now-a-days?

It’s the biggest thing ever. There are no color lines or barriers. I love where Hip Hop is right now. It’s everywhere!

9. Who are you currently listening to?

I’m listening to Nipsey Hussle. Li’l Bibby, Schoolboy Q at the moment. I really like what they’re talking about and how they approach music.

10. What is the message through your music?

I just people to know it’s ok to be themselves and never settle.

11. Tell Re-Volt Magazine something not a lot of people know about you.

I watch Lifetime movies on the low (laughs). The acting is horrible but it’s a guilty pleasure.

12. How can people reach you & hear your music?

The best way to stay connected to me is to visit http://www.thisisjonhope.com/ 7. Is Radio Play as important as before?

I think it plays a role but it’s more important to build your brand and fanbase. There are tons of artists who have spins but cant sell out a bathroom stall.

8. We got some great Hip-Hop artists from the Arab World. Have you heard about any? & would you collaborate with one of them?

I’m not familiar with any in the Arab scene but I would love to collaborate and check some out. You have any suggestions?

Interview by Hassane DENNAOUI a.k.a. BIG HASS revoltmag1@gmail.com

Artwork by Laith AL ABBAD

s p o t f . y . i .

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CARTOONS

New Khartoon! | MADMAN ... Bashar #Syria #AlManar #Turkey #Lebanon #Sudan #Qatar #Saudi

Discuss this cartoon on Twitter #revoltmag_cartoon #khartoon

FEATURE | MOLLY CRABAPPLE

[FOLLOW MOLLY CRABAPPLE] http://www.mollycrabapple.com @mollycrabapple >> >>> Her latest art book ‘Week in Hell’

Q&A

Drawing Syrian Forgotten Faces

MOLLY CRABAPPLE 1. What made you decide to paint the faces of some of the Syrian martyrs?

Syria is a forgotten revolution. Something that began with such hope and bravery has been relentlessly repressed, while the world looked the other way. So much of one of the oldest, most beautiful countries in the world is decimated, and so many people are now refugees.

Syrian writer Lina Sergie Attar organized a vigil for the third anniversary of the revolution, where the names of those killed were read for 72 hours, in front of the White House. I drew these portraits at Lina’s request, to help people remember the dead.

2. Out of all the great feedback you received. Which one was the most marking? & which one was disappointed?

I was most moved by messages from friends and family members of people whose portraits I drew. It was my great honor, and I’m so happy to show them that those they love are not forgotten. However, many Western, anti-imperialist leftists said the portraits meant I was an imperialist warmonger, which was a big disappointing because I consider myself from the same political background.

3.Your art & concepts are known to be bold & straight forward. In your opinion, how does something like that draw awareness in American society?

Photography is ubiquitous. Most people have camera phones. But when you draw, you’re taking time, you’re doing something slow and laborious to say: “Look! This matters!”

4.You’ve remarkably drew 15 portraits. If you have been contacted by relatives of the victims, how have the families perceived your artistic statement?

I’ve messaged with some friends and families of these victims, and Lina has given a print of one of my portraits to the father of a young doctor who was killed while helping people inside Syria. I’m just so moved my drawing meant something to them, because their loss is incompeable 5.What you did is so credible giving that these portraits belong to real people. Were you taken by the emotions behind these dreadful stories while drawing?

Its very hard. You look at these people, some of them kids, full of hope and dreams. Then you research them on a site like Syrian martyrs, and you read or even see how they died. It’s very very hard to look at the war in Syria, the human effects of that war, and not look away.

But I’m in the US, so I can look away, which isn’t a luxury available to people inside the country.

Interview by Hassane DENNAOUI a.k.a. Big Hass revoltmag1@gmail.com

ON THE GO | Mark Anthony Neal

HIP HOP EDUCATOR Author of ‘That’s The Joint!’

Mark Anthony NEAL [FOLLOW MARK ANTHONY NEAL] XXXXXXX

1. What are your thoughts on the current state of Hip-Hop? Quiet as it’s kept, there’s always been a commercial impulse within rap music, where more tedious and commercial music overshadowed what some might describe as more serious, conscious music. There’s no doubt that some commercial artists are more visible than their peers 20 years ago could have ever imagined, but it is also much easier now to find alternative forms of rap music. Hip-hop is what it is--which has always been the case.

1.1 Is Radio As important as before?

You hear rap music on pop radio all of the time-the commercial stuff is simply mainstream pop music that borrows from the hip-hop aesthetic.

Ironically, Hip-hop emerged and became a force despite radio’s --even Black radio--willful neglect.

For alternative or conscious acts, it’s Baraka’s changing same. For them Youtube is the new radio.

2.2 Who are your currently listening to?

These days, always checking Jasiri X, Monch, Rapsody, love the latest Talb, but Jay (yes Jay Z), Nas, Tribe, De La and a little Ross, remain in the rotation.

2.3 Who are your favorite Arab Hip-Hop Artist?

Don’t get to hear much, but definitely have been digging Offendum.

2.4 Tell Re-Volt Magazine something not a lot of people know about you.

For all my reputation as a scholar of Hip-Hop and Soul, you’d be surprised how much soft rock--Chicago, Ambrosia, Elton John, and Todd Rundgren--is on my ipod.

2.5 Would you consider visiting Saudi Arabia for a Hip-Hop conference?

Definitely would visit Saudi Arabia to break bread over Hip-hop.

ON THE GO | Sadiece HOLLAND

Sadiece HOLLAND

FOUNDER & EXECUTIVE PRODUCER THE FLEX SHOW

Photo Credit • Bunker Clothing

plan is to expand the show to include countries like, Saudi Arabia, Lebanon, Egypt, Jordan, and Morocco, to name a few. We want to not only represent the UAE, but the region as a whole.

Middle Eastern Urban and Hip Hop culture is growing nicely and we want to expose it to the world through The FLEX.

1. How did the idea of “How We Flex” come about?

The platform is actually called “The FLEX”, “How We FLEX” is the tagline that we use.

The idea came about when I moved back to the UAE two and a half years ago and found that there still weren’t any/many platforms exposing local talent or platforms were artists could feel free to express themselves. Music has always been my life, and after obtaining a degree in Music Industry Management & Studio Production and taking a job in TV production in Abu Dhabi, I fused my love for music, with my new found skills in TV. I grew up in the UAE as an aspiring artist without the resources or a suitable platform available to me or any of my friends, to help develop our craft or express our creativity.

With such a large multicultural society I think its extremely important to have these types of platforms in place to allow the creative industry to grow and help nurture talent.

2. Other than supporting the local scene in UAE. How are you looking to expand this initiative?

Ever since The FLEX began airing on FOX & FX around the Middle East & Africa, we have been receiving lots of submissions and audition videos from region. With Season 3 approaching, our

3. Why in your opinion the video of poet Farah Chamma has reached the highest in terms of views?

First and for most, because Farah Chamma is extremely talented and deserves to be heard!!

Her message was very very powerful, and although some may view her poem as somewhat ‘taboo’, people were able to connect and relate to what she was saying. She said what everyone has been thinking but too afraid to say, which can be very common in this region. The fact that she performed the poem in Arabic also played a big part as expected. Arabic poetry is a big thing and we hope to be able to expose more.

4. How has the feedback been? And what kind of support are you looking for?

The response has been great so far: we want to thank everyone for their love and support!

The FLEX is still new in my eyes so there are a lot of kinks that need ironing out.

At the moment we’re really keen on partnering with a few brands and get them involved with our online content and our content that airs on FOX. 5. How can people reach you?

People can reach us on all of our social media platforms, Twitter, Facebook, YouTube & Instagram by searching: HowWeFlex (one word).

They can also visit the website: www.HowWeFlex.com to subscribe to our weekly updates, and if you are an aspiring artist who wants to get involved, email us: info@HowWeFlex.com 6. On the spot Q. Who are the top 4 Hip-Hop artists in your opinion residing in the UAE? Surprisingly 4 is actually hard to pick, but my top 4 Hip Hop acts in the UAE, in no particular order would have to be: Malikah; The Recipe; Jibberish (Diligent Thought) Moh Flow | MAJOR props to Ghost & Ed Hooligan also, I love those guys! All of these artists have a lot of talent and are representing their region well! I look forward to working with more great artists like them!

ALBUM RELEASE |JON TARIFA

FREE TO BE | JON TARIFA “FREE TO BE” is the first album of the skillful MC, rapper, musician, vocalist and poet -- better known as Jon Tarifa.

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Lyrical story telling is exhibited throughout the entire record. Jon inspires you to stay positive, focus and believe in yourself. The warm sounds of Robin Brock “So Right”, Arman Kanun “Next To Me”, Mame Bella “We Can Make It” and Levie Silvanie “Free” complement Jon’s (seemingly) effortless flow.

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FEATURE | REMI KANAZI

1. Was there any specific event that inspired you to write poems about Palestine?

I went to go see Def Poetry Jam on Broadway in 2004.

That was the first time I saw spoken word live. I was absolutely captivated. I went home that night and began crafting a piece. Since I was already writing about Palestine in op-ed form, the medium simply shifted.

2.You do tour the world, between the US, Europe and the Middle East. Are the reactions of the people different in each area? And if so, how?

Reactions do vary country to country, but the determining factor in crowd reaction is how familiar the audience is with spoken word and their level of support for Palestine, anti-militarism, and struggles against injustice. That being said, the love and support I felt across Palestine, South Africa and Ireland stood out as examples where the across-the-board energy was elevated.

3. Do you remember the most harsh reaction you ever received?

Last year, a woman disrupted my set, shouted that I was spreading one-sided propaganda and lies, and stamped out of the concert hall. Outside of the racist question or two in a Q&A, I tend to get minimal opposition at my shows. I think spoken word has a disarming effect; I’m able to present my case through a creative and engaging medium that a lot of people can relate to.

Nonetheless, the more insidious pushback takes place

by Zionist groups behind the scenes. A performance and BDS (Boycott, Divestment and Sanctions) town hall I was recently invited to take part in was shut down after internal and external Zionist pressure. There are a lot of

well-funded Zionist organizations that don’t want a candid conversation on Palestine happening, particularly not when the voice is Palestinian. Luckily, student groups and community organizations continue to mobilize and push back against the smearing and attacks, and have actually seen increased support and broader coalitions forming.

Q&A

Palestinian-American performance poet and human rights activist

REMI KANAZI / POETIC INJUSTICE 4. I always feel that the support & awareness on the Palestinian cause is always more in the US & Europe more than the Middle East. In your opinion why?

A book chapter could be written in response to this question. I can’t properly speak to the level of solidarity in the Middle East, which I don’t think operates monolithically, but I’ll tackle the U.S. front.

In America, you could barely say the word Palestine on a college campus 7 or 8 years ago without getting called an anti-Semite. Things slowly began to shift after the massacre on Lebanon and Gaza in 2006. People became more aware. Friends who didn’t know much about Lebanon and Palestine were hitting me up asking me what was going on. Pictures of dismembered bodies and shattered buildings were being posted online and as the images of destruction surfaced, the US government remained squarely behind Israel. Then came the massacre on Gaza in 2008. To anyone with a conscience, excuse making wasn’t penetrating. Facebook and YouTube were flooded with images and videos of the carnage.

The brutality shocked people, including those who were too apathetic or too afraid to speak up on Palestine in the past. Additionally, many Americans were getting fed up with the devastation leveled against the people of Iraq and Afghanistan and hawkish War on Terror militarism. So the sheer disregard for an occupied population relegated to an open-air prison provoked a strong reaction on campuses and in communities.

SJP chapters skyrocketed, the US Campaign for the Academic and Cultural Boycott of Israel formed, and support for community organizations doing work on Palestine saw a massive increase. This is when the BDS really started to find its footing in the U.S. and it had given groups a concrete action to take up.

5. Who from the Arab poets inspires you?

These are difficult questions. When I became a poet and editor, and began working on Poets For Palestine, I was reading collection after collection of Palestinian poetry.

The work of Mahmoud Darwish and Fadwa Tuqan had a big impact on me. I have so much love for the poetry of Suheir Hammad, Lisa Suhair Majaj, Naomi Shihab Nye, Nathalie Handal, Rafeef Ziadah, Tahani Salah, and too many other brilliant poets to mention.

At the same time, Arab hip hop artists have served as significant inspirations, particularly DAM, Omar Offendum, Shadia Mansour, Lowkey and the Narcicyst.

6. If you had the chance to speak at the U.N - Would you & what would you say?

I’ve turned down U.N. events in the past.

I’m very particular about the type of events that I do and the type of organizations I work with. If the right opportunity presented itself, I would consider it.

But I’m not going to pretend like the U.N. isn’t part of the problem, wear a smile, and put on a show.

7. What are you currently working on?

I’m working on new poetry, a couple of talks and a workshop. I speak frequently on the cultural boycott of Israel, BDS, and anti-normalization efforts. I also facilitate workshops on the same topics, as well as spoken word workshops. I’m currently finishing up my next collection of poetry, which will hopefully be out in the fall of 2015.

FEATURE | REMI KANAZI

8. What does solidarity mean to you?

Showing solidarity in different countries, with different dynamics at play, necessitate various displays of that solidarity. For example, supporting the Palestinian struggle for liberation and justice, and centering the Palestinian voice in organizing spaces, is essential in the U.S. The active form here includes cutting direct lines of complicity with Israeli occupation and apartheid. This often takes shape in the form of boycott and divestment campaigns, coalition building efforts, challenging the dominant media narrative and other forms of action.

9. Why did you choose this path?

I felt that the average 19 year old was more likely to listen to a spoken word piece than they were to read an op-ed in their local newspaper. Since I was inspired by poets to pick up a pen, being able to express a socially conscious message through a creative medium really appealed to me.

10. Tell Re-Volt Magazine Something not a lot of people know about you.

I watch a lot of cooking shows, from the respectable competitions to the terrible programs where they remodel and “turn around” a restaurant in 72 hours. I’m a horrible cook; I mostly just eat while I watch these shows.

Interview by Hassane DENNAOUI a.k.a. Big Hass revoltmag1@gmail.com

[FOLLOW REMI KANAZI] http://poeticinjustice.net https://twitter.com/Remroum https://www.facebook.com/RemiPoet

LOCAL FLAVA’ | AL HAMORABI

Q&A

A metaphysical bond with Hip Hop

AL HAMORABI

2. Where do you see the state of arab hip-hop now?

Arab HipHop has been developing and spreading in a very fast way: the accelerator was the Arab Spring.

That’s cool! Revolts became a popular phenomenon and a wheel making big impact and Arab Hip-Hop was being enriched by it, in terms of popularity, acceptance, connection between different arab countries.

The Revolution has been sponsored and manipulated by a certain group of ‘pigs’, so we rappers managed to manipulate back the consequence to where it was supposed to be, I guess.

1. Was there one moment that made you want to get into Hip-Hop? I don’t think I have the answer properly as required above because I’m still searching for it through different cultures, time and space. But I can definitely say that I am chosen for it without metaphysically knowing why.

The world is composed of tribes: each has a genetical / biological tendency to a certain domain. One thing I know for sure is that ‘latmiyyat’ are responsible of my psycho-social tolerance to hiphop.

3. What is the kind of support you are getting in Lebanon?

Big up to the real minority of brothers and sisters who are digging and comprehending fondamentally the real message thematically/musically that I’m transmitting.

Others are just haters! They come in two categories: those who hate just for hating and those who hate because their ignorance and way of life is absolutely not compatible with the essence of my work, accusing me of heretic and madly abstract thinking - as they prove their own ignorance. Lebanon is the platform where I began and rose up with my first inspiration but the rest of the world is the post-phase of my career, that’s in general.

Specifically, I’ve always been CLEAR and SHARP about belonging/representing Planet Assyria (the term makes people laugh out loud). So ask myself “Am I getting enough ASSYRIAN support?”(RIP A***** S*****) 4. In your opinion. Why are most people linking Arab Hip-Hop to only politics?

In my opinion, I think that people tend to constantly stay scared of Arab politics so by entirely connecting hiphop to it they feel secure - that’s great - from Brooklynn to Assyria: hip hop remains political because it’s the people’s hope and weapon but I think hiphop is way wider and bigger than politics .

LOCAL FLAVA’ | AL HAMORABI

[FOLLOW AL HAMORABI] via Facebook Al Hamorabi via Soundcloud HAMORABI THE 13TH via Twitter HAMORABEATZ

5. What has been the greatest achievement in your rap career so far?

My greatest rap acheivement is that I didn’t reach it or attained it yet, I love that! I’m an impatient person who’s constantly and intentionally stepping his game up everyday. Also, making the hip hop community aware of the ‘Assyrian’ cause is a big partial achievement, word up!

6. Where is your dream performance stage?

I performed on ones of the biggest stages in Arab world and Europe. I think Japan would be it! Definitely looking forward to that!

7. What are you currently working on?

I have just released a new numerological/alphabetical concept and project called “MALKUT 12” on March 1st with a videoclip called “AL HARB” where you can find the whole explanation of the album if you press pause at minute [1:11]. I have another upcoming project on his way “Mahdishtar’’ already finished. I’m currently working on the promotion plan and on the date settlement.

It will be out in 2 months max.

8. When you tour out of Lebanon What are the reaction you receive from the people especially from ones that dont understand Arabic?

Good Question.

It makes me so glad yet sick at the other hand because the foreign feedback is always flawless in a positive unanimous way while they are not understanding, so what would the result be if they actually understood.

In the Arab world, some people hate on my music even though they understand each word, sad...

9. Tell Re-Volt Magazine something not a lot of people know about you.

Mohamad Ben Rida the II is HAMORABI and the 13th imam , i’m the Judgement and the Compassion , Tyranny and Modesty no more or less . What people (even close friends) will never understand that the Malkut and the 12 stars are the reason why i make music .. ONE will never understand is that the ...

Interview by Hassane DENNAOUI a.k.a. Big Hass revoltmag1@gmail.com

YOUR MONTHLY SOURCE OF REAL HIP-HOP CULTURE A mic, a choreography, a vocal percussion, spraypaint, a vinyl record, a book or a film...

We choose all the above.

The power of the word to inform, to represent and to stay real!

If you’re interested to write for re-volt magazine

email us revoltmag1@gmail.com

REVOLT/REPORT BY BLITZ THE AMBASSADOR

The African Hip-Hop Generation Arrives

by Blitz The Ambassador

(This piece first appeared at Africasacountry.com)

REVOLT/REPORT BY BLITZ THE AMBASSADOR

I remember it like it was yesterday. My older brother had just returned from his freshman year of secondary school and the loud engine of my father’s old Nissan Stanza pulling into the compound had sent us all rushing to welcome him. Amidst my parents chatter about his grades and how he’d lost weight, my brother signaled me to follow him. He pulled out a Sony Walkman and told me he had a new dance to teach me. I can’t remember exactly what he called it, only that it was similar to the running man. The soundtrack to that dance was a sound I had never heard before: ‘Hip-Hop music.’ I spent the days that followed filled with immense curiosity, digging into this new sound. Years later, I would come to learn the names of the artists on that cassette tape: Big Daddy Kane, Rakim, KRS One, Salt & Pepa, and Public Enemy.

This was my introduction to a culture that changed my life.

I’ve always wondered what made Hip-Hop so captivating.

Was it the beat? Perhaps, it could’ve been the hypnotic samples looped into 16 bar arrangements. Or was it the lyrics? Honestly, between the thick American accents and heavy slang, very few of my peers understood a word that these rappers said. So it must have been the urgency with which Hip-Hop artists asserted their views, a stark contrast to the love themed Highlife tunes our parents listened to. Most young people found that content redundant and Hip-Hop music helped break the monotony.

With a wide array of socio-political commentary from Public Enemy and deep ’5 Percent Nation’ knowledge from Rakim laced over neck snapping beats, a majority of young Africans were spell bound by the sonic manifestation of the culture. I, however, was enthralled by the physical attributes of the culture, especially the fashion and style. Giant Africa medallions, dashikis and kufis were the core aesthetics of Hip-Hop of that period.

In my twelve year-old brain, I interpreted all that Afrocentric style as a symbolic call and response from a distant relative. I heard the call loud and clear but how would I respond? Was Hip-Hop really interested in hearing about my struggles and appreciating my Ghanaian aesthetic? Did the culture really value its international roots? After all, the Godfather of the culture, DJ Kool Herc was himself an immigrant. His block parties were directly related to the sound system culture of his native homeland Jamaica. So the light bulb went off- maybe I had to journey to the Mecca of Hip-Hop, New York City. There my response would be heard much louder.

That journey took me from local talent shows in Ghana

to graduating college in Ohio (I’m African, I had to do it for my parents) to numerous world tours and even sharing the stage with my personal heroes Public Enemy at NYC’s Summerstage. But somehow the response to the call didn’t seem adequate. It took a while to realize that the initial call I heard in Ghana was powerful because it came from a collective voice. Whether it was the Afrocentric era (Public Enemy, X -Clan, KRS One) or the Native Tongue era (Jungle Brother, A Tribe Called Quest, Queen Latifah, De La Soul) or the most recent Soulquarian era (The Roots, Erykah Badu, Talib Kweli, Common, Mos Def), it was clear that to make an impact you needed a definitive movement.

I started wondering: perhaps this idea of responding to Hip-Hop’s call rested not on me as an individual, but on a collective of young African voices. The more I searched, the more I found like-minded artists who were responding in their own way- from Somali-born MC, Knaan, to Belgian-based Congolese Rapper Baloji to Nigerian-German singer Nneka (the list goes on).

We had all made inroads individually but had hit a similar brick wall collectively- being a solitary voice in the extremely territorial world of Hip-Hop. None of us could make enough noise to shift the paradigm, no matter how brilliant we were as individual artists.

So, some of us began a quest to help present a unified front- from collaborations to guest appearances to curating live shows and stalking the Facebook pages of some of our peers till they responded. We now understand that our power lies in our connectivity.

To quote the brilliant scholar Frantz Fanon: “Each generation must discover its mission, fulfill it or betray it, in relative opacity.” I believe we are the next generation of Hip-Hop. A more globally focused generation, one that can bring back the same urgency we heard in our native countries when the culture first beckoned us.

Thanks to the Internet, this movement continues to connect everyday. I believe there is nothing more powerful than an idea whose time has come. The time for Africa’s Hip-Hop generation to influence the culture that influenced it is now. * Afropolitan Dreams – released today– is Blitz the Ambassador’s 3rd studio album and features Angelique Kidjo, Seun Kuti, Nneka, Oxmo Puccino and more. Buy on CD+Vinyl+MP3 as well as on iTunes in France & the U.S. Photo Credit: Quazi King.

LOCAL FLAVA’ | ODDISEE

[FOLLOW ODDISEE] https://twitter.com/oddisee

Q&A

Sudanese/American MC/Producer

ODDISEE 1. What is the fav thing for you, MCing or Producing?

An: 50-50. Making a good beat makes me want to rhyme & writing a good rhyme makes me want to do the beat.

50-50 all the way.

2. What is the fundamental thing that you use to strive when you do your music?

I really strive to make music that people can connect to emotionally on different levels.

I want people to get different interpretations of my music but in the end the one thing I want it all to have in common is the connection to it emotionally.

3. Do you see what you hear?

I think all societies especially today are very visual societies. If we see it visually, we accept it as truth and I think I’m not obsolete from that; I haven’t managed to escape that even though I’ve tried.

4. Where is the state of underground hip hop in your opinion?

It’s a good one in my opinion, but more and more you are starting to hear independent & underground artists being signed & given a wider audience.

I think it’s in a good time to be an underground artist.

5. How does the support from the people make you feel?

It’s always a comfortable feeling that the music you make is received well by other people. Music is a part of me so every-time I release a record , I am sharing a piece of myself , i am exposing a piece of my soul to people that I never met. So when its received well, its a huge blessing.

6. How can someone make good music and have it successful without compromising the integrity of real music?

I think the most important thing is to keep an open mind, to listen & to observe. I stress the importance of that. You can’t find ways to make music that appeal to the masses without catering to them. Every human being is unique: the one thing that we all have in common is that we are unique which is kind of an oxymoron, it’s a paradox. There’s nothing wrong with observing what type of music people like and keeping that in mind when i am creating , not letting it control what I create, just keep it in mind and when you do that, you will make popular music without compromising your integrity.

7. Where is your dream performance stage?

Carter Barron. Would love to do a show there!

8. What does Hip-Hop mean to you?

Ah. It means so much to me. It’s a way of life. It means the cycle from sampling records to making new records, it creates a full circle of social commentary of music, culture all locked up in one entity.

9. What are your thoughts on the Arabic Hip-Hop movement?

I think all Arabic speaking and Islamic countries need hip hop as a voice to let people know whats really going on because if you leave it up to western media they will only reflect the wrong image. The youth that are living all throughout the middle-east need a representation of their own culture reflected to them.

10. What would you say to an upcoming artist?

Don’t fall victim to underdevelopment & over exposure.

When its ready, it will reveal itself.

LOCAL FLAVA’ | KHALID AL SOMALI ‫خالد الصومالي‬

Q&A

Aesthetics and sounds of Poetry

Khalid Al Somali

‫خالد الصومالي‬

1. QUICK BIO I was born on 11/30/1987 in Dhahran, Saudi Arabia.

I grew up in the eastern cost of Saudi; I then moved to the U.S. , end of 2006, to pursue college education. I lived in Houston, Texas for seven years: while living in Houston I earned a bachelor degree of Liberal Arts in Political Science & Psychology. I was living in a diverse community, my awareness on global issues has been increasing, which lead me to engage in activism, writing, and creating art.

Recently, many of my solo expositions revolve around human experience and resistance.

2. What made you get into poetry?

Writing frees, you know? There is freedom in sharing your story. I’m a lover of Language & Art: through poem and spoken word we connect we learn one another. poetry is excellency in expression, its almost as if the words clothe my skin and becomes what I wear, my dress, what I represent. I think there is both strength and beauty in poem. look at the differences in the use of imagery and symbolism between Tupac Shakur’s Poetry and Rap lyrics. revisit the beautiful & spiritual poets in Def Jam Poetry, like Saul Williams, Suheir Hammad, Jonzi D, influenced me and sparked a flame in my soul to write, look at the powerful writings of Mahmoud Darwish, watch dangerous minds, dead poet society, see if that moves your heart, thats what made me want to share the world within, thats what gotten me into poetry.

3. What inspires you to write?

Metaphysics, Nature, Human experiences, treatments: fate, my dreams and reality, my memories, my aspirations, the world is a marvelous thing! I’m a curious person.

Reading inspires me to write: I read a lot of books, newspapers, blogs, street signs, body language and films.

“I pay attention” and that motivates me to write, to document a moment and gift it eternity. Not only that but I’m amazed by the fact that literature is vicariously transformative, it welcomes the reader’s imagination to the realms of the story, to travel through language and become a participant of the story. “I hope this inspires you to write” :).

4. How is your poetry incorporated in your sounds and paintings?

My work is natural it comes from the soul. If you put all my pieces together you will notice the solidarity in my message, you will find symetry between my sounds and paintings and I’m not afraid to experiment through an auditorial or visual medium to convey an idea. You will hear the color and mood of my sounds and you instantly feel the resistance. Also, you would look into some of my conceptual paintings and you will find a diction of my reality and the use of language, such as Listen, or Stay true, ‫ السالم او احملبة‬, you would see a panther’s fist or a peace sign, and it goes on.

5. What is your dream?

I want my art to take me around the world, I want to give, and I want to build a music institution somewhere in the world, preferably in my hometown.

That’s my dream.

6.You are from Somali roots. Do you intend to go back? & have you written something for Somalia?

There are no trees without roots.

Hergaeisa is my fathers hometown, he lived the British Somalialand reality and always and still tells me stories about it. I would definitely go to Somalia one day. The irony though is that I’ve been so far away from Saudi that I felt so isolated from my hometown too. I think I need to write more for Saudi. And Yes, I’ve written for Somalia.

In my writings about colonialism, refugees, social conditioning and transnational acculturation, I speak not only of Somalia but the North African and MiddleEeastern region as a whole.

7. Who do you currently listen to?

I listen to a wide spectrum of music.

Alice Coltrane, Robert Glasper, Phillip Glass, Bajka, Nneka, K’naan and Black Thought, Q-tip.

I listen to a local artist / music teacher from Houston Denis Cisneros, I listen to Warsan Shire poetry and Jiddu Krishnamurti lectures.

8. What do you think the local art scene in Saudi needs?

The art scene in Saudi is growing. It needs exposure: it’s necessary that art reaches out to people in a way other than the web. There has to be more live activities this will help local artists to connect and build, for the youth to watch and listen and to begin taking part. There are many talents out there but so little or non-existing facilities to cultivate and motivate the youth to share their visions. When I’m in other countries I hit the local scene/ shows to see talents to feel the soul of the city.

Art scenes here need to be recognized and globalized.

You need people to see our work and be like “This in Jeddah’s?” - “I want to visit Jeddah” - “This artist is from Khobar!” - “How did she think of that?” This only happens when artists have a sense of individuality, and when they share their inner most perspective: it is natural to be influenced but we need to focus on the techniques and infuse them to our own personal and social lives.

Interview by Hassane DENNAOUI a.k.a. Big Hass revoltmag1@gmail.com

Films & Documentaries | Héritages

‫مراث‬

Q&A

A New Philippe Aractingi Masterpiece-Film

HÉRITAGES ‫مراث‬

On July 12, 2006, another war breaks out in Lebanon.

Director Philippe Aractingi sees himself having to leave his motherland, Lebanon, to settle elsewhere for the third time in his life. While he and his family are evacuated to France on-board a military ship, he realizes that his ancestors have also been fleeing from wars or massacres for five generations now. All of them have been exiled at least once.

The idea for his new movie Heritages (Mirath) is born. Gripped by the burning desire to tell his own children the past that is “not to be told,” Philippe sets on a journey through History to understand and pass on its lessons. Here, his ancestors’ itinerary is confronted by that of Middle Eastern history: the fall of the Ottoman Empire, the French mandate, the creation of Israel, Pan-Arabism, the Lebanese civil war and beyond.

His exploration leads him to the universal questions: Can one find peace in exile?

Should we unshackle ourselves from our heritage (Mirath) to be free?

Philippe takes a radical turn in his film-making career, and experiments with a light-hearted and playful style where members of his family enact their ancestors’ lives as well as their personal ones.

Throughout the seven chapters of this “autobiographical novel,” Philippe organically interlaces directed scenes and archive images with video-filmed personal diaries, family photos and super 8 reels. We are slowly drawn into this family novel set in moving pictures, as Philippe explores a distant and familiar Levant, always linking History (Mirath) to an intimate diary.

Films & Documentaries | Héritages

‫مراث‬

PLOT OUTLINE As he flees Lebanon again in July 2006, director Philippe Aractingi realizes that, like him, his ancestors have been fleeing wars and massacres for five generations.

In a fresco where photos, archives and home videos of his children subtly interact, he tells the story of his family’s travels through the Levant. Heritages (Mirath) is a film about exile, memory and transmission, filled with emotion and honesty.

What do you think of the rising Lebanese cinema?

Any favorite directors?

Philppe Aractingi: I am not sure that Lebanese cinema is rising. Not yet. We are producing more films than we used to 10 years ago, when I launched Bosta, but we’re still very much behind our Mediterranean neighbors.

In your opinion, what are the keywords that reflect from the film ‘HÉRITAGES’?

Philppe Aractingi: exile, re-laying memory, past, present, future, Lebanon, elsewhere.

Rim Chehab: Denial, confrontation and memory .

I would like to assume that a Director often transcends his sole role of directing a film, cast and crew, as he also becomes a mentor. What is it like working with Philppe Aractingi?

Rim Chehab: It is a hard question to answer, because I would go on and on :) I have been working with Philippe in Fantascope Production the past 3 years: it was a challenging journey as I shared , approved and witnessed

Philippe Aractingi directing his children in Tabaris.

re-volt magazine had the privilege of having a quick but enlightening conversation with both Director Philippe Aractingi and his production manager Rim Chehab.

After BOSTA and UNDER THE BOMBS. How challenging is it, after two consecutive successful films, to keep this legacy of accomplishments - while remaining truthful and genuine in your work ethics and storytelling?

Philppe Aractingi: It was very challenging especially that Under the Bombs went to 40 festivals and acquired 23 prices , maybe that is why I spent a couple of years more to do my 3rd feature. We have chosen to do Heritages in order to go deeper into my thoughts and even be more truthful towards the relationship i have with my home country Lebanon.

What was the message behind ‘HÉRITAGES’?

Philppe Aractingi: There isn’t a single message as such.

HERITAGES/Mirath is a journey. I hope it can lead the spectator to reflect. Often people leave films with more questions than they had when they first came in.

Questions regarding identity, our relationship with our parents’ past, our denial towards the past.

Our need to see our future abroad...

Matthieu Aractingi caught on camera seconds before breaking down a wall in the Tabaris scene.

Films & Documentaries | Héritages

‫مراث‬

almost every picture in HERITAGES the movie and managed other short films for corporate firms.

I am as dedicated towards his films as he much as he is.

Having the opportunity to work with Philippe is not only an addition to my career; his dedication and challenge of introducing new genres into the cinema in the Arab world every time made me more motivated to believe that we CAN do it! It is tough sometimes in this field specially in Lebanon with all the instabilities but after all we overcome, have faith and keep going!

How rewarding - as a producer - to reap the fruits of those long hours of hard work, especially after a well-acclaimed and beautifully perceived film?

Rim Chehab: It is very rewarding actually, especially when you know that you’ve delivered perfectly well, gathered the right team to work with and of course even more rewarding when you hear the audience’s feedback after watching the film on how exceptionally it touched them, learned from it and how unique it is then other films coming out. To me that’s a straight touch down! :) Someone eventually has to start something different!

I urge every person who has the opportunity to watch this film in Lebanon and later on in the Arab world whether in theaters, private screenings, festivals or others to go see Heritages and understand how important it is as a lesson to confront our past in order to move on.

I’m not saying that because I’m the production manager of this film but this film is a fact.

Philippe Aractingi in the middle of directing a scene

[FOLLOW “HERITAGES” UPDATES] Twitter http://twitter.com/HeritagesMovie Instagram http://instagram.com/heritagesthemovie Youtube http://youtube.com/user/heritagesthemovie Interview with Hanane FATHALLAH revoltmag1@gmail.com

ON THE GO | Q&A Mohammed ‘Big Mo the Nomadic’ Alkhadher

Mohammed ‘Big Mo the Nomadic’ Alkhadher Kuwaiti-American up-and-coming Hip Hop Artist

1. What inspired you to get into Hip-Hop? I was in the 6th or 7th grade at the time, a friend of mine also wanted to rap, so we started soundclick-ing beats and recording into the mic built into my Baba’s state-of-the-art laptop. That thing must have weighed 20 kilos, and I carried that everywhere.

I emulated what I heard on the radio and in the media, which is why I think I began to make Hip-Hop for all the wrong reasons. My first song from 2005 was a conscious one, I don’t think ever made music that opposes my current views, but I was definitely influenced by messages that I now don’t support.

I hadn’t been introduced to real Hip-Hop yet. The Middle East is a Hip-Hop island. The art is detached from it’s roots and it’s taking on different meanings. In the Middle East Hip-Hop is synonymous with gangster music, that’s what I was taught and I ate it up. It wasn’t until I grew up and became more conscious of my surrounding that I realized what I could do with it.

2. What are the challenges you face as an Arab-American Hip-Hop Artist?

The challenge is the only Arab’s that are in mainstream music are people like DJ Khaled and French Montana, who don’t reflect the Middle East or any of it’s rich culture. Getting past these stereotypes can also be an obstacle, with the way Arab’s are misrepresented and under-represented it’s difficult for the average American to discern what’s fact from fiction. When I explain how my experiences debunk their misconception, I’m considered an isolated case. Because I’m only one voice, and

their perspective is reaffirmed every time they turn on the television.

Another challenge that comes to mind, is being a conscious artist, or as Mic Capes put it, “a rapper with a conscious.” People tend to associate consciousness with piety, or think that I place myself above others for thinking that a conscious lifestyle is greater than an ignorant one. Society has conditioned us to no be critical, and those who do are considered “crazy” or “conspiracy theorists.” So, at it’s roots I’m criticized for being critical. Hip-Hop is not an art meant to submit to society’s status-quo, it’s meant to challenge it. But ignorant music is still championed as music that challenges society, because it pushes the boundaries of drugs, alcohol and promiscuity, but in reality it’s just promoting the above mentioned.

3. Tell us about your album “both sides of the sand”?

BSOS is my life story, my experiences growing up between the East and West, and the similarities both share.

Being able to see the conflicts from both perspectives empowers me with the ability to explain the “other’s” in terms that the said group can understand.

I think, by finding similarities, we’re building a platform for communication. For example, materialism is an issue the entire world grapples with, but few discuss.

In the end, we’re all people and we’ve all made mistakes, but this leveled-ground gives us the opportunity to communicate on a societal level, without politicians intervening.

I’m an optimist, and like to think that Man is inherently good. We’re born good, but we’re misdirected by distrac-

Hip-Hop made me fall in love with Hip-Hop all over again. That was in 2008, when I began taking my music seriously, as a profession.

I’m a fan of all Arab rappers, as long as you’re not portraying yourself as a gangster, or solely rap about your material belongings.

tions like materialism and what they call the “rat race.”

We all want to be the best at we do, we want to be the first to get there, and we’ll do anything to stay there.

4. Do you think that Radio Play is as important as before?

Radio and record sales will never be same since the internet-age. I think radio is great for reaching new people, but the concept of radio has changed. People now tune into their favorite show, at their convenience, because it’s available to stream off the internet. It isn’t as time sensitive as it used to be. Also, people know what they want to hear, and have the ability to listen to it as much as they want, whenever they want. The radio doesn’t offer control over what is played, so less people listen to the radio. Radio, just like every-other medium, has to adjust to the evolution of media. I think the radio’s moving from the waves and to the internet.

I don’t think It’s less important, I think it’s changed.

5. Who are the rappers you look up to in the Arab World?

I started rapping right after Army of One dropped “Reprezentin” in 2004, when I was 14. They created the “Habba,” basically they made rapping cool in Kuwait. I always have to give them all credit. Another is the Narcycist, he gave life back to my music. I didn’t know what I was going to do with it, this habit, until I saw Narcy making music with a motive. It had a purpose, it gave my music purpose. Then I found Arabian Nightz, Omar Offendum, Malika, MC Amin, The Recipe and DAM. Arab

6. In your opinion, what is real hip-hop? & how can one stay true to their believes & be commercial?

Many people disagree with my opinion of what I think “real Hip-Hop” is, or should be. To understand what HipHop was, you have to understand the history. Hip-Hop’s purpose wasn’t intended as a vehicle for money. The same record companies that exploited jazz, blues, soul and rock and roll all have their noose around Hip-Hop. It gave a voice to the under-represented and oppressed, to voice their opinions on a scale that wouldn’t be afforded to them otherwise.

Those who are “real” stay true to themselves and don’t play the “fake it ‘til you make it” card. If you’re a gangster, rap about being a gangster. I wan’t to hear about what life is like from that perspective, but I want it to be authentic. Be true to who you are, your past, present and where you want to be in your future. I don’t want a morphed misinterpreted version of what a kid in the suburbs thinks a gangster’s life is like. Represent yourself and where you come from.

7. What are you currently working on? And where can people reach you?

I’m getting ready to release a lot of material @SamAreImusic and I have been working on for the past 6 months.

It’s called Fight for Peace and it drops this June, single coming soon. My last album, Both Sides of the Sand. is available at www.bigmoglmg.bandcamp.com. You can find me @BigMoGLMG on instagram and twitter.

8. Tell Re-Volt Magazine something not a lot of people know about you Along with writing lyrics, I’m also a journalism major at the University of Oregon, and aspiring journalist. I’m currently an Associate Editor at Envision Magazine, an environmental student-run publication at the University of Oregon. I hope to do feature and investigative writing around the world, after I graduate.

I also plan to write and publish a few graphic novels (comics), and books.

Interview by Hassane DENNAOUI a.k.a. BIG HASS revoltmag1@gmail.com

ALBUM RELEASE | FAREEQ EL ATRASH

‘AL MAWJEH EL TARSHA | FAREEQ EL ATRASH The entire album ’al mawjeh el tarsha FOR FREE on Soundcloud https://soundcloud.com/fareeqelatrash/sets/fareeq-el-atrash-al-mawjeh-el [FOLLOW FAREEQ EL ATRASH] www.facebook.com/Fareeq.el.Atrash

FEATURE | EXPO Karim JABBARI

EXPO\\Sharjah

Revitalizing Old Islamic City Kairouan through light and calligraphy

Karim JABBARI

My participation in the 2014 Sharjah Calligraphy Biennale was about the city of Kairouan wich was founded in 670 AD and is considered as the most ancient islamic city of the Maghreb and one of its principal holy cities. Capital of Ifriqiya for 5 centuries, it was a place of oustanding diffusion of Arabo-muslim civilization. Kairouan is classified as UNESCO wold heritage and its main monument the Great Mosque (Uqba Ibn Nafi’a mosque) is considered not only an islamic but a universal masterpiece of architecture.

The artworks are light calligraphy pictures printed on canvas combined with a Kairouan Kufi style and maghrebi style calligraphies.

The big wall is an assembly of 12 canvases forming a migration of letters from Kairouan to Sharjah.

Karim Jabbari Team calligraphy and street artist http://www.madefromwords.com

FEATURE | EXPO Karim JABBARI

ALBUM SPOT | Yasiin Bey & Marvin Gaye

MS. FAT BOOTY | YASIIN BEY & MARVIN GAYE “Ms. Fat Booty” is the first single from Mos Def’s, Black On Both Sides.

It is produced by Ayotollah. The song and its chorus are both driven by multiple samples of Aretha Franklin’s “One Step Ahead,” a rare Columbia single released in 1965.

The song was placed at #144 on Pitchfork Media’s Top 200 Tracks of the 90s.

WE KEEP OUR ENVIRONMENT CLEAN & HEALTHY

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FEATURE | BIO PAUL PORTER

[bī-ˈä-grə-fē]

Culture Critic | Lecturer | Consultant Founder of RapRehab.com

{

Paul PORTER

Paul Porter has been a force in radio, music and television for over 3 decades. His deep, sultry voice has resonated on the airwaves of many of the nation’s top rated radio stations and has been featured in large scale national television and radio campaigns including campaigns for AT&T and HBO. He has also served as the announcer for seven consecutive NBA All-Star games. Paul’s expertise and proficiency has established him as a thought- leader in the radio and music industry and he is often sought out by major media outlets including CNN, Entertainment Tonight & FOX News where he has been a frequent contributor.

Paul’s radio career is marked by several key milestones.

As Program Director and morning personality of the nations’s third Adult Contemporary formatted station, WMMJ-FM Washington, D.C., Paul increased the station’s rank from 28th to 4th in just nine months of assuming the position. He also served as the assistant music director and radio personality for D.C.’s WKYS-FM which was the top rated station in the market during his tenure.

Paul also achieved several milestones in the television media as well. In the early 90s he embarked upon a 10-year career with Black Entertainment Television where he began as a voice-over talent for programs like ‘Video Vibrations’ and ‘Midnight Love’ and eventually hosted the critically acclaimed ‘Video Soul’ program. Paul was also responsible for key contributions to both the operational and programing success of the network including digitizing the network’s music programming and library and increasing the network’s viewership by an amazing 16 percent nationally as Program Director.

Other career highlights include consulting the RIAA, Sound Exchange, Grammy nominated Ledisi and AOL for the launch of AOL Music. Porter›s broadcasting career includes stints at New York›s WBLS, WRKS, WWRL and in Washington DC at WRCTV, WHUR and WUSA TV. Paul now lends his voice and expertise to advocacy in the area of media awareness and social consciousness. In 2005, Paul co-founded Industry Ears, a nonprofit think-tank committed to identifying and addressing injustices in the media. Various high-profile media outlets, including CNN, Entertainment Tonight, Fox News, The New York Times, LA Times, Chicago Tribune have sought his expertise and analysis of the changing landscape of the music industry. Paul continues to be a highly demanded lecturer and panelist.

He has inspired, led and informed audiences across the country with keynote addresses relating to the music industry and media.

Porter will share his encounters in the music business in his forthcoming book, “The Same Songs”.

}

EMAIL: porter@raprehab.com WEBSITE: raprehab.com + industryears.com TWITTER: @raprehab + @industryears

PAUL PORTER WORK EXPERIENCE ADVOCACY

WHO AM I ? @RAPREHAB: Founder Helping you turn your music into self-sustaining streams of revenue.

2011 - Present @INDUSTRYEARS: Co-Founder

RAPREHAB.COM

A nonprofit think-tank committed to identifying and addressing injustices in the media.

2005 - Present @PARENTS TELEVISION COUNCIL: Advisory Board 2011 - Present

MUSIC

LOS ANGELES, CA.

CONSULTING:

RIAA • Sound Exchange • Ledisi • AOL for launch of AOL Music • UBS Banking & Financial Services Group - Radio Analyst 1990 - Present

30+ YEARS EXPERIENCE

LICENSING DEALS:

Entertainment Tonight • Access Hollywood • Good Morning America • ESPN

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FEATURES:

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MEDIA

RADIO

@WBLS-FM: Assistant Music Director 1996 - 1998

WASHINGTON, DC.

@WHUR-FM: Assistant Program Director & Talent 1992 - 1994

TELEVISION

PAUL

INDUSTRYEARS.COM

NEW YORK, NY

@WMMJ-FM: Program Director 1989 - 1990

WASHINGTON, DC.

@WKYS-FM: Assistant Music Director 1982 - 1989

WASHINGTON, DC.

@BET: Program Director & Talent Video Vibrations • Midnight Love • Video Soul 1990 - 2001 @WUSA-TV: Programmer & Talent 1984 - 1988 @NBCWRC-TV: Host

WASHINGTON, DC.

1983 - 1986

WASHINGTON, DC.

Fresh

INTERESTS MUSIC

10+ YEARS EXPERIENCE

Music Video Connection

Paul Porter has been a force in radio, music and television for over three decades. His deep, sultry voice has resonated on the airwaves of many of the nation’s top rated radio stations and has been featured in large scale national television and radio campaigns including campaigns for AT&T and HBO. At WMMJ Paul increased the station’s rank from 28th to 4th in just nine months of assuming the position and WKYS was the top rated station in the market during his tenure.

He has also served as the announcer for seven consecutive NBA All-Star games. Paul’s expertise and proficiency has established him as a thought-leader in the radio and music industry and he is often sought out by major media outlets.

ACTIVIST

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WEB-MARKETING

AWA R E N E S S

ANNOUNCER SOCIAL MEDIA VOICE OVER

TV/RADIO S O C I A L

NETWORKING

CONSULTATION

SOCIAL CONCISIOUSNESS BROADCASTING

PUBLIC

SPEAKING

LICENSING COMMENTARY

TALENT CHART 0

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MUSIC LEADER

QRCODE BUSINESS CARD

MUSIC RADIO TELEVISION PRESS EDITORIAL MUSIC RIGITS ACTIVIST PUBLIC SPEAKING

* Scan the code to visit Rap Rehab!

FEATURE | Q&A PAUL PORTER

1.What is the current state of Hip-Hop? It all depends on who you are. Hip-hop in all reality has been hijacked through commercialization and corporations.

The hip-hop purist knows that the culture of hip-hop is alive and well but is under ground and needs support.

Historically the art form called hip-hop is much different than rap.

2. In your words what would you describe as “real” hip-hop? What constitutes something being real compared to not being?

“Real hip-hop” is lyrically inspiring. The art of story telling is where it began, I learn something something from a dope track. It can be as simplistic as having fun at a barbeque or telling the struggle that life brings. We have went from lyricist to the lyrically challenged in the new world of commercial rap.

3.You’ve always focused on the word “balance”, which I support 100%. In your opinion how do we achieve that?

Tough question, I believe that there is a real need to take back the same commercial outlets that methodically took real hip-hop away. The recording industry has been stuck on stupid for over 15 years. The marriage between the recording industry and the broadcast side is ultimately where the largest changes can be made. Settling for the hip-hop being underground is just lazy. Hip-hop can change the world if we can get the right messengers back in the power positions.

6. How can someone make good music and have it successful without compromising the integrity of real music?

I think there are plenty of artists making great music.

The problem isn’t to fall for the tail-pipe in the banana trick. If your looking for huge commercial success it comes at a price. Push murder and mayhem and you might be the next Cheif Keef. Stay pure to the art form of classic hip-hop and you can tour the world too. While it wont be on a private jet, you will be in first class.

Stay true to the game and build a legacy.

7. What would you tell the youth that can’t stop and won’t listen to anything but “MainStream” ?

Educating the youth is a process. I’ve created RapRehab just for that reason. They will continue to listen until we all pick up our games to educate them. I have done plenty of lecture and town halls on this subject. When you engage youth and tell them just how they are being played , they react and are on-board every time.

8. From your great experience in the music industry.

Is there anything real about it?

Look, I’ve worked at the greatest commercial outlets on the planet. There in business these days to make money only. Out are the days of being cutting edge and serving the public. It’s not about fans it’s about stockholders. You can’t expect much from conglomerates that only think about the bottom line.

4. Is Radio Play as important as before?

Damn right, radio is important!

Hip-hop purist will tell you that it’s not. But they’re ultimately part of the problem. Anytime you let the next generation be force fed that commercial rap garbage your actually passing the baton to Trinidad James. Radio continues to be a huge influencer if you like it or not.

5. The Internet plays a huge part in the music industry now. Do you think record labels and radios are losing their power? Or are they still in control? I love the internet. RapRehab is why I’m blessed to be talking with you. But I fully understand that the fragmented internet is not the power source like radio and cable. The industry moves to the beat of money. Capitalism rules, plain and simple. While the internet gives hope, it does not transfer into dollars. There a zillion internet streams that are small in comparison to commercial radio. Clear Channel is pimping IHeart-Radio, which is simply more of the same shit you hear on commercial outlets. The consumer is now being fooled on the internet too.

9. If I am a teacher in a high-school class and want to inform my students about Hip-Hop Culture.

Who do I make them listen to?

First, I would explain the real history of hip-hop. Real hiphop survives the test of time, Public Enemy, KRS One and historic tracks like ‘The Message’ & ‘Stop The Violence’ are prime examples of the messenging of hip-hop at its best. I always let young folks know that the internet is much better than Itunes. there is a rich history that is there to explore.

FEATURE | Q&A PAUL PORTER

13. Tell Re-Volt Magazine something not a lot of people know about you..

Paul Porter: Lost everything he had fighting the corporate structure that is corrupting young minds. I’m in this cause for the long run. It takes time, patience and money to fight and rebuild hip-hop’s image. I often get upset with hip-hop purist who won’t spend the time or invest in causes that promote the music that inspires others.

While RapRehab was created as a source of conscious, unfiltered truth, I am all about building relationships and causes. Until like minds start working together, expect more of the same. I return every call, email or tweet.

I was lucky to work for some of the best broadcast properties in radio and television during the music industries best time. Unfortunately the same people that I worked for, are now part of the problem. You can’t be my spirit or my drive, because I never stop.

Thanks for this chance to share with your readers. Lets build!

Interview by Hassane DENNAOUI a.k.a Big Hass revoltmag1@gmail.com

10. Who is Paul Porter currently listening to?

My musical taste are all over the spectrum. I’m a big fan of the blues, R&B and hip-hop.

The Notorius BIG, Sa -Roc were on this morning...

11. What is your dream?

Not big on dreams, I’m an action man. I am trying to reawaken those that truly understand and love hip-hop to fight for it. Commercialization has killed an art form.

I’m doing my best to fight the system that hijacked the culture and spun it into this watered down world of lyrically challenged MC’s. You can’t be a part of the culture and turn your back on the generations that are missing out on the real art of hip-hop. Real hip-hop heads are responsible for letting this world of rap crap take over the mainstream. I want to get hip-hop culture back to where it once was.

12. There is a great Arab Hip-Hop movement.

Are you aware of it and would you be interested to know more about it?

Hoping that we will build a bridge and you can turn me on to your best. RapRehab is your voice too.

s p o t f . y . i .

{‫}اإلنسان الذي ال أثر له ال حياة له‬ eL Seed calligraffiti at Al-Balad, Jeddah | KSA

DJ LETHAL SKILLZ

DJ | Turntablist | Producer | Entrepreneur

DJ Lethal Skillz is the oldest and most established turntablist in the Arab Hip Hop movement.

Besides being a world-class DJ, he has also distinguished himself as a prolific producer and long-running ambassador for the Arab hip-hop massive.

He has two seminal Arab Hip Hop albums to his credit: _ New World Disorder (2008) _ Karmageddon (2012) Karmageddon (2012) features nearly everyone in the Lebanese hip-hop scene past and present and many of Arab hip-hop stalwarts from the region and Diaspora!

Throughout his journey he has collaborated and performed with major historical figures in hip-hop lore - including opening up for the likes of: Pharoahe Monch and M-1 of Dead Prez at The Forum Kentish Town, in London, England playing with the likes of De La Soul, Dj Q-bert, Rob Swift, Dj Akakabe & Co-ma World DMC Champions mainstream acts like Timbaland, 50 cents, Whokid, Big Ali, Missy Eliot, Sean Paul, MIMS, Coolio ...to mention a few...

For more info, check out these links: www.facebook.com/djlethalskillz961 www.reverbnation.com/djlethalskillz www.youtube.com/djlethalskillz

www.myspace.com/anewworlddisorder www.myspace.com/lethalskillz www.soundcloud.com/djlethalskillz

ALBUM RELEASE | ONE

L-FRESH THE LION | ONE “On this album, people can expect lyrics, heart, soul, passion, knowledge and hunger. They can expect to be moved and they expect to move. “One” is for those people who enjoy good music; for those who yearn for music that will make them feel.”

[FOLLOW L-FRESH THE LION] http://l-fresh.com/

REVOLT/REPORT | LE SLAM

M A L S LE Written by Karmel [FOLLOW KARMEL] Twitter @KarmelPal paldiary.tumblr.com

Have you heard of Le Slam?

Yes ‘Le’ as in the French pronoun...

The most straightforward way to define it would be as an art of spoken words. It originated by Marc Smith in 19861, and I believe that it spread widely, at least in the Francophone world, with the artist Grand Corps Malade. It differs from the usual spoken words in that it is usually sarcastic with often arrhythmic background music and sound effects.

I live in Morocco, and it is considered as part of the Francophone world – this is maybe why I was exposed to Slam. In Morocco, it seems that the interest in spoken words in general and Slam in particular has increased noticeably. I believe that it could be a positive “trend” if it was adopted seriously, for it revives the youth’s interest in lyricism, transcending the idea of “a good sound.”

This interest was manifested in initiatives such as Farah Chamma’s tour that attracted a considerable number of people, and weekly gatherings for local artists to share their fresh creations, in Tangier.

What I have noticed about Slam in Morocco is how it is usually concerned with social issues, for which, I believe that it reflects the essence of Hip Hop; it projects feelings and tells it how it is. During my high school, the first Moroccan rap songs were released. They were raw: Spoken from the streets to the streets. They dealt with social problems and aspects. They criticized the indifference and the hypocrisy in our society. They pushed people to think about their collectiveness and to take off the glasses of selfishness. However, this seemed to fade as time passed by, and rappers with the dream of a “fast life” as their objective, appeared. They are rappers that could not maintain, for they did not have a ground.

However, the ones that were and still are talking about what relates to the masses are still being respected and listened to (Don Big, Muslim, Mobydick, etc.).

One of the Slam figures in Morocco that seems to be taking it to another level is Mustapha Slameur. He was previously known as the reggae artist Stef Ragga Man. However, a year ago, he started releasing Slams under the aforementioned alias where he stuck to socially responsible themes. In one of his songs entitled Chri Chri (buy buy), he talked about how the society is starting to lean toward consumerism, and values are becoming more superficial. In another song entitled Betadine (a medicine), he tackled the issue of corruption and indifference in hospitals. An important thing about the work of Mustapha is that he uses street references, codes, and vocabularies, and he talks in a Moroccan colloquial language. In addition, his videos are always animated. His art form is audible and visual, which coincides, in a way or another, with two elements of Hip Hop, graffiti and rap.

All in all, I am not sure about considering Slam as a variation of Hip Hop. However, I know that in their reasons and aspects of creativity they are identical even though the funkiness and energy of Hip Hop is definitely missing in Slam.

(1) Cristin O’Keefe Aptowicz Words in your face: a guided tour through twenty years of the New York City poetry slam Soft Skull Press (New York) 2007 p. 36 (ISBN 978-1-9333-6882-5)

s p o t f . y . i .

{ ‫}يا أيها الناس إنا خلقناكم من ذكر وأنثى وجعلناكم شعوباً وقبائل لتعارفوا‬ {Oh humankind, we have created you from a male and a female and made people and tribes so you may know each other} eL Seed calligraffiti at the minaret of Jara in Gabes، Tunisia

ON THE GO | Q&A RUN JUNXION 1.How has it been being an underground Hip-Hop group in Saudi Arabia?

We are in, what is considered a ‘dark market’ for music in our environment. Venues are scarce, promoting music is difficult, especially considering that we mostly create a brand of more hardcore conscious Hip-Hop but we do have radio-friendly material with an underlying message.

We wouldn’t necessarily call ourselves an ‘underground Hip-Hop group. We think label creates a false image of what we are all about. If you mean ‘underground’ in the sense that we are not played on the radio, we would say that we have been played on radio stations from Saudi Arabia to France, to Morocco, the Philippines, Dubai, Lebanon, and Malaysia to name a few. If you mean however, that our music is different than the music that’s played on the radio due to our conscious message and mainstream radio’s lack of, then that is a title we are comfortable with and it feels great to be making music with a message, regardless. We feel we just make music we like and don’t think about these labels, categories, and classifications.

2. How would you define the Hip-Hop scene in the Arab world - especially in Saudi Arabia?

A lot of great things are happening in the Arab world in general and the Saudi scene specifically. We’ve seen Egypt, Lebanon, Morocco, Kuwait, Bahrain, and others all start to put music out that is good. Locally, we have a host of young artists honing their skills and developing their talent. We meet people all the time that ask for advice on how to be a better rappers and that is a great sign of things to come. The overall interest is there, and just like the West did in the late 80’s - early 90’s the mainstream corporations will try to undermine everything artists are doing but the youth are with us in this hip hop movement so they will be unable to ignore it forever. We’ll have to pay special attention to obliterate those trying to destroy this positive message from within by trying to make this movement into something it’s not.

From the copycats, to the fame-seekers, to those trying to dumb-down and corrupt the youth, - the core group of artists in Saudi have rejected these types of individuals and they have turned themselves into laughing stocks.

Because their music and message are mostly meaningless they will fade into nothingness once the novelty wears off. It’s happened to US artists already and that exposes the underlying problem with following trends and not being original.

3. What are the messages discussed in ‘Shock N Awe’?

Our topics range from simple to rather complex topics.

From simple issues of encouraging people to be themselves to more complex issues of brotherhood, the state

of the world, fake gangsters and killers,... It’s probably best not to go into the issues too deeply and let people discover for themselves the meanings as different people will extract different messages and meanings. That’s completely cool with us. One thing made clear from the album is that we are trying to preserve and propagate the fifth lost element of Hip-Hop and that is knowledge.

This knowledge is not only about the above issues that were mentioned above but also knowledge about the craft. You have a lot of people in the region speaking about the art form without a clear understanding of Hip-Hop and its history, elements, and the sciences related to it. Overall though, there is always an underlying message in our music.

4. Does the album contain Arabic verses/songs?

No, there aren’t any Arabic verses or songs on the ‘Shock N Awe’ album. The reason for that is simple.

With this album we wanted to illustrate and showcase our skills in Hip-Hop’s mother tongue of English so that we can showcase our struggles and messages to the international market. We really wanted to put the region on the English speaking Hip-Hop map by showing off rhyming skills and really great beats. That is not to say we neglected the Arabic market though.Our affiliate projects of Ommatal-Dawd (‫ & )أ ّمة الضاد‬Qawaidul-Ishtibak (‫ )قواعد اإلشتباك‬are completely made for the Arabic markets with Qawaidul-Ishtibak (‫ )قواعد اإلشتباك‬already released we‫؛‬ve delivered a complete project to that market with another one on the way.

5. Who are your favorite Hip-Hop artists?

Nas - Biggie - Pac - Wu Tang - MF DOOM - Big Daddy Kane - Scarface - Vinnie Paz - Sean Price - Gang Starr 6. Do you believe that Radio Play is still as important as before?

Radio could play a vital role in promoting music but radio hasn’t been interesting enough to compete with all of the various outlets that technology has provided the masses with. Our hope is that shows like Laish Hip Hop will bridge that gap and provide people with different outlets for information and entertainment.

We wanted to thank you Big Hass for always supporting us while we thank everyone that has supported us along the way. A big shout out to all the heads from the artists to the fans.

Interview by Hassane DENNAOUI a.k.a. BIG HASS revoltmag1@gmail.com

ON THE GO | Q&A KHAKI MUSTAFA

Q&A

Palestinian-American Hip-Hop Artist (Portland, USA)

KHAKI MUSTAFA

Khaki Mustafa is a Palestinian-American hip-hop artist born in Portland, Oregon; currently residing in West Palm Beach, Florida.

Known for witty lyricism, politically charged content and an overall positive message he emerged on the Northwest indie music scene in 2009. Shortly thereafter Khaki Mustafa began touring nationally and began sharing stages with many heavy hitters in the music game.

He has released several projects to date including: “Voices Of The Unheard EP” (2010) “The Dark Ages & Brighter Days” debut album (2012) and the “Be The Revolution” mixtape (2013)

1. Was there a special moment that made you want to get into Hip-Hop? I honestly cant think of a specific moment where there was like a light bulb illuminating over my head and I decided to CHOOSE hip hop as my way of life & career path. I have just always loved music. I started writing lyrics after the tragic death of my youngest brother when I was ten. It started as poetry and evolved into hip hop as a means to release all the pain that I couldn’t express without music. I poured out my heart in so many songs. I filled up so many notebooks with painful lyrics that helped me cope with the tragedy in our home. Hip hop slowly became an important coping mechanism, my ryhmebooks were my psychiatrists and Hip Hop became a permanent part of who I am. I remember freestyling with friends when we were 12 or 13 years old. I used to rap while playing basic guitar chords with my friends beatboxing to the rhythm. That was how us poor kids made music way before pro tools was so easily accessible (to OVERpriveleged white kids spending their dads money haha). I guess I cant really say that I chose Hip Hop, but that Hip Hop chose me hence the name Khaki MUSTAFA... but that is another story in itself... hahaha

2. As an underground, upcoming artist. How do you see the state of Hip-Hop now-a-days?

I think the state of HIP HOP is great! There is so much good music being released by talented artists every day.

Now the state of the HIP HOP MEDIA on the other hand is a completely different portrait of reality. Basically we have all heard people saying that “Hip Hop is dead” but in reality hip hop never died. There is just as many hip hop artists and listeners today as there was in the 90s and maybe even more! The major difference isnt in the music itself but in the music media outlets. Back in the Hip Hop “Golden Age” (whatever that is) radio stations, websites, magazines and other media outlets pushed hip hop to the people and therefore people thought that hip hop was very “alive” and popular. Today these same media outlets cram the newest “hottest” music into the brains of listeners globally. The difference is in the agendas of the majority of major media outlets and who they choose to be deemed the next “hottest” rapper. The guy that promotes consumerism, violence, drugs and crime will most likely and unfortunately be deemed the “Hottest rapper” while the rapper that refuses to cater to corporate interest and makes a stand against marketing products that bring destruction to society is usually never even heard of.

ON THE GO | Q&A KHAKI MUSTAFA

into the question about the state of hip hop.

Radio play is how a lot of rappers get noticed.

More often than not however, most radio stations are spinning rap music that can fit into this mold of what hip hop is “supposed” to look like. When a rapper is not attempting to imitate the music that is already on the radio than nine times out of ten that artist gets slept on.

It is what it is though...

5. Who are the artists that you would love to collaborate with?

The Roots. I think it would be hella dope to rock a show with The Roots playing my music live.

6. Are you active on Social Media? & How can people reach you?

Yes I am active on social media.

Follow me on Instagram & Twitter @KhakiMustafa Like my FB page www.facebook.com/khakimustafa

3. Tell us about the Corporate Interest EP. The Corporate Interest EP is a four song extended play version of my single “Corporate Interest” featuring Diabolic. Four tracks of hardcore lyricism over slick beat production from S.E.P., including the official Corporate Interest remix featuring Diabolic & Sullee J! “Corporate Interest” is a blunt message aimed at the 1% in the corporate world that continue to get richer by using celebs to market products that add to the destruction of society and at the music media that mostly promote negative music. This EP is ME. This is Khaki Mustafa raw and uncut. Hate me or love me, this is what I do.

The single is available on iTunes, Amazon, CD baby and everywhere else music is sold online, while the EP is available exclusively at www.khakimustafa.bandcamp.com 4. Do you think Radio Play is as important as before?

Radio Play is important. Exposure is important.

Although the internet creates a million and one ways to gain exposure for your music, when radio stations start playing a song thirty to fifty times a day... people start liking it! That’s called flooding the market with your supply and creating your own demand. This question ties back

6.1 What are your thoughts on the Arabic Hip-Hop movement?

The Arabic hip hop movement is dope. I feel like a lot of Arabic hip hop especially in places like Palestine originated from the need for an emotional release or an expression of the pain experienced in these areas, as well as being a voice for the people that are no longer on earth to express theirs. Like all music, Arabic hip hop is evolving and spawning sub genres and expanding rapidly. I am not gonna like all of it (and I dont quite understand all of it either) but there is a lot that I do like as well. Shout out to all the Arabs that are making that REAL, unadulterated, pure, hip hop. Best of luck to all the Arabs that are trying desperately to fit into that mold of what mainstream media tells us hip hop is “supposed” to sound like. Peace to all!

7. Tell Re-Volt Magazine something not a lot of people know about you Most people don’t know that I secretly wish I was Big Hass! LOL! Thanks for the interview.

Insha’allah it reaches out and blesses people!

Interview by Hassane DENNAOUI a.k.a. Big Hass revoltmag1@gmail.com

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BROTHER ALI The Undisputed Truth Teller

When was the first time you held a mic and performed?

BA: My first show was in 1985, when I was 8 years old. I actually performed at my Grandmother’s funeral ; she was really supportive of me..so when she passed away , it was the first time ever getting a mic & performing & i have done ever since then. It wasn’t until 2002 that i was able to really have a career & supporting myself with music.

How do you think Islam is affecting your life?

BA: It’s really been my way of understanding myself and the world. It’s everything for me. It has given me a perspective on life and wanting to give myself - my entire self to Allah.

It’s a process; a life long process. I’m trying to give up a picture on whats going on inside me when I’m creating music. I don’t feel like music for me is to teach dawa or preach . I think my role and my responsibility is to make the most honest and real music I can.

In one of your interviews , you said, that the Middle East & Africa have so much potential in Hip Hop, Elaborate more on that?

BA: The thing about Hip-Hop is that you don’t need anything at all to create Hip Hop, you don’t need instruments, you don’t need training

“No artists made their art powerful and made their art popular, the people do that for you.”

Hip Hop comes from who you are, it comes from your expression. It’s the rawest form of human expression that we have. It’s a perfect voice for people who are voiceless, it’s a tool and medium for people whose stories aren’t heard, whose faces aren’t known, whose names aren’t spoken; those who are suffering.

And in the ME & Africa, a lot is going on there. Even musically, the culture and history have always been rich! All the elements of Hip Hop are there for people in ME & Africa to use Hip-Hop as a vehicle for letting the world hear what’s going on there.

In Saudi Arabia, to be given a chance to perform live is very minimal.

What advise would you give hip hop heads here?

BA: The most important thing is to express yourself completely honestly, the thing that makes art powerful is the people. No artists made their art powerful and made their art popular, the people do that for you. If their truth in that artistic creativity is there, so people will hear, the people will seek you out. excerpt from radio interview with Hassane DENNAOUI