Marker - Issue 2

FREEissue

EXPLORING

HIP HOP IN EDMONTONfeaturing politic live

10123 - 121 Street, Edmonton, AB | p: 780.423.1492 | snapartists.com | [email protected]

SNAP (the Society of Northern Alberta Print-Artists) is one of Edmonton’s most unique and exciting artist-run non-profit organizations. Started in 1982 as a collective of Edmonton artists, SNAP is dedicated to the promotion of both traditional and experimental printmaking practices. The Society maintains a permanent, dedicated space including a gallery and printmaking studio, and provides a comprehensive range of programming available to artists and the general public.

Support SNAP - Become a Sponsor Member TodayReceive 4 Limited Edition Fine Art Prints

Only $150 a YearDetails at snapartists.com

CONTENTS

04Intro

06Colour Blind

08Artist Profile - AJA Louden

16Dear Hip Hop

18YEG Represent: A Look Inside Edmon-ton’s Hip-Hop Culture

28The Find - Love Your Movement

30March 24, 2012

Original cover image by Pedersen (3tenphoto.com)

10123 - 121 Street, Edmonton, AB | p: 780.423.1492 | snapartists.com | [email protected]

SNAP (the Society of Northern Alberta Print-Artists) is one of Edmonton’s most unique and exciting artist-run non-profit organizations. Started in 1982 as a collective of Edmonton artists, SNAP is dedicated to the promotion of both traditional and experimental printmaking practices. The Society maintains a permanent, dedicated space including a gallery and printmaking studio, and provides a comprehensive range of programming available to artists and the general public.

Support SNAP - Become a Sponsor Member TodayReceive 4 Limited Edition Fine Art Prints

Only $150 a YearDetails at snapartists.com

CONTENTS

04Intro

06Colour Blind

08Artist Profile - AJA Louden

16Dear Hip Hop

18YEG Represent: A Look Inside Edmon-ton’s Hip-Hop Culture

28The Find - Love Your Movement

30March 24, 2012

Original cover image by Pedersen (3tenphoto.com)

INTROHere we are again – another one done.

In our second issue, head writer Rebecca Hagan-Egyir takes a look inside Edmonton’s hip-hop scene. She profiles a diverse group of artists who are making waves – waves that inspired some of this month’s other stories, including our art-ist profile and our “Find”. It’s a great look into a strong community full of great local talent.

Marker is new to the magazine world, and put-ting together each issue is a lot of work. Every-one involved, whether directly or indirectly, is an integral part of the success of this publication, and I can’t thank you all enough.

Enjoy issue two, folks.

Brnesh BerheFounder

10729 - 104 Ave | happyharborcomics.com

Vic Mittal [email protected] | 780.908.5263 vsmphoto.com

new service:

video production

VSMPHOTOproduct, fashion, and creative photography

Art & Editorial Director / PublisherBrnesh Berhe

Head WriterRebecca Hagan-Egyir

Copy Editor Jessica Bateman

Contributing WritersAhlam Sadik, iD

Contributing PhotographerVic Mittal (VSM Photo) Contributing Photos (for YEG Represent) byHoward Cameron, NGYOFACE, Pedersen

Special thanksAngie Mellen, Lucier Model Agency, The Bower, and EVERYONE WHO CARRIED THE FIRST ISSUE!

[email protected] /markermagazine | @markermagazineInsta

INTROHere we are again – another one done.

In our second issue, head writer Rebecca Hagan-Egyir takes a look inside Edmonton’s hip-hop scene. She profiles a diverse group of artists who are making waves – waves that inspired some of this month’s other stories, including our art-ist profile and our “Find”. It’s a great look into a strong community full of great local talent.

Marker is new to the magazine world, and put-ting together each issue is a lot of work. Every-one involved, whether directly or indirectly, is an integral part of the success of this publication, and I can’t thank you all enough.

Enjoy issue two, folks.

Brnesh BerheFounder

10729 - 104 Ave | happyharborcomics.com

Vic Mittal [email protected] | 780.908.5263 vsmphoto.com

new service:

video production

VSMPHOTOproduct, fashion, and creative photography

Art & Editorial Director / PublisherBrnesh Berhe

Head WriterRebecca Hagan-Egyir

Copy Editor Jessica Bateman

Contributing WritersAhlam Sadik, iD

Contributing PhotographerVic Mittal (VSM Photo) Contributing Photos (for YEG Represent) byHoward Cameron, NGYOFACE, Pedersen

Special thanksAngie Mellen, Lucier Model Agency, The Bower, and EVERYONE WHO CARRIED THE FIRST ISSUE!

[email protected] /markermagazine | @markermagazineInsta

You say that you are colour blindand I cant help but wish I was a lot like you.I wish I was color blind too.You see, the pigment in my skin will never let me forget of her stories.She tells me, “Never forget that you are a coloured woman; you were marked since the day you left your mom’s womb.” In elementary school I had nicknames.I was always that token black girl in my classes;the one with no friends.I hated everything about me.From the shape of my lips, and the colour of my eyes, to the curls of my hair, the accent of my parents, and the colour of my skin. I was that child that lived in a poverished apartment on affluent white territory.I was that awkward child.That child that ate food that reeked of strange spices.It took me a long time to realize that be-ing different wasn’t so different after all;it all depends on who’s measuring stick you use and who you want to compare yourself to.I am that same awkward girl,but I learned to love and respect every bit of my identity. My skin tells me to never forget where I come from.She tells me,“Never forget that your parents had to walk through deserts to get here. How they left the comfort of their homes in order to make their own dreams a reality. All the hardships they endured.How they were treated as second-class citizens in this country. How they had to expose themselves to different norms and values and had to understand all this in a different language.”She tells me, “Don’t forget that you do not fully belong here.You might be first world, but you have

third world tattooed all over your body.Don’t look at me as if I am merely a bad sunburn”

“Remember that I am symbolic to your people’s history, so learn your history.I am symbolic to your people’s culture, so learn your traditions.I am symbolic to your mother’s native tongue, so learn your native language.Make sure your roots stay firmly under-ground; don’t allow yourself to be uprooted.Stay grounded.Gain knowledge.Don’t let them tell you who you should and should not be. Have pride in your heritage. Don’t try to change me, and don’t you dare ever forget of me” She reminds me everyday that she exists;Forcing me to take notice of her,forcing others to notice her.You say that you are colour blind,but you tend to assume things about me even before I get the chance to open my mouth and speak.You think racism has died, but then why do I hear it in her voice?I see it in his face.If racism has died why is it that when someone says shit like, “Go back to your country”, others turn their heads in silence with no objections?I guess that means they agree. So I am sorry if I don’t believe you when you tell me you are colour blind.It is not righteous of you,neither is it polite.In fact my skin thinks you’re kind of rude.She is begging for your attention.She wants you to know she exists in bright colours you cannot hardly miss.She wants you to notice her scars, her pain, and hear her voice with your eyes open.She is not asking for your approval or your tolerance, she is asking for you to respect her, and paint her in colours rather than leave her in random shades of grey.

C O L O U R B L I N DBy Ahlam Sadik

You say that you are colour blindand I cant help but wish I was a lot like you.I wish I was color blind too.You see, the pigment in my skin will never let me forget of her stories.She tells me, “Never forget that you are a coloured woman; you were marked since the day you left your mom’s womb.” In elementary school I had nicknames.I was always that token black girl in my classes;the one with no friends.I hated everything about me.From the shape of my lips, and the colour of my eyes, to the curls of my hair, the accent of my parents, and the colour of my skin. I was that child that lived in a poverished apartment on affluent white territory.I was that awkward child.That child that ate food that reeked of strange spices.It took me a long time to realize that be-ing different wasn’t so different after all;it all depends on who’s measuring stick you use and who you want to compare yourself to.I am that same awkward girl,but I learned to love and respect every bit of my identity. My skin tells me to never forget where I come from.She tells me,“Never forget that your parents had to walk through deserts to get here. How they left the comfort of their homes in order to make their own dreams a reality. All the hardships they endured.How they were treated as second-class citizens in this country. How they had to expose themselves to different norms and values and had to understand all this in a different language.”She tells me, “Don’t forget that you do not fully belong here.You might be first world, but you have

third world tattooed all over your body.Don’t look at me as if I am merely a bad sunburn”

“Remember that I am symbolic to your people’s history, so learn your history.I am symbolic to your people’s culture, so learn your traditions.I am symbolic to your mother’s native tongue, so learn your native language.Make sure your roots stay firmly under-ground; don’t allow yourself to be uprooted.Stay grounded.Gain knowledge.Don’t let them tell you who you should and should not be. Have pride in your heritage. Don’t try to change me, and don’t you dare ever forget of me” She reminds me everyday that she exists;Forcing me to take notice of her,forcing others to notice her.You say that you are colour blind,but you tend to assume things about me even before I get the chance to open my mouth and speak.You think racism has died, but then why do I hear it in her voice?I see it in his face.If racism has died why is it that when someone says shit like, “Go back to your country”, others turn their heads in silence with no objections?I guess that means they agree. So I am sorry if I don’t believe you when you tell me you are colour blind.It is not righteous of you,neither is it polite.In fact my skin thinks you’re kind of rude.She is begging for your attention.She wants you to know she exists in bright colours you cannot hardly miss.She wants you to notice her scars, her pain, and hear her voice with your eyes open.She is not asking for your approval or your tolerance, she is asking for you to respect her, and paint her in colours rather than leave her in random shades of grey.

C O L O U R B L I N DBy Ahlam Sadik

LOUDEN

AJAA R T I S T P R O F I L EI n t e r v i e w b y B r n e s h B e r h e

08I’m the Toughest (RIP Peter Tosh). Approx 4.5’ x 8.5’. Acrylic on blank billboard. 2012.

LOUDEN

AJAA R T I S T P R O F I L EI n t e r v i e w b y B r n e s h B e r h e

08I’m the Toughest (RIP Peter Tosh). Approx 4.5’ x 8.5’. Acrylic on blank billboard. 2012.

What made you want to venture into a creative career?Well, it took a lot of experimentation for me. I’ve been creative and into the arts since I was a kid, but it took me a while to realize that it was my calling… something that I wanted to make into a career. It’s hard for me to choose a specific turning point. I was in school for the sciences for several years then switched into arts. I always did well in the sciences but I couldn’t really see myself doing that as a career so I chose to follow my passion. One important catalyst I remember was my grandma telling me to just go do it, so I’m sure that was a big part of it.

Grandma always knows.(Laughs) Grandma always knows, for sure.

So you went to MacEwan for their Design program, right?Yup, majored in illustration; [graduated in 2012].

Do you think that graduating from the program and having that formal training has helped you in your illustration work, or more in your design?The design part of the program is what helped me the most. Learn-ing to analyze things in design terms and look at things as a design challenge. Every piece of art and every illustration is a challenge in terms of design, right? How to convey a piece of information most efficiently while still making it interesting. So incorporating that at-titude in my style has been the most useful.

Do you feel you’re more influenced by other artists or by random everyday things?I’d say both. I can see a texture on a brick wall that would make me think of something, and later on I’m painting based on that experi-ence. I guess there are a few people along the way whose work has inspired me. When I see somebody’s work and it blows me away, I feel like it changes me as a person; just that one chance encounter has changed my life path and I want to be able to share that with people.

How do you come up with your ideas?Well with the [Martin Luther King/Malcom X] piece and Definitions Of The Self [with Pam Grier and the little Sambo character], those are about similar topics; about the power to define yourself or to define the group of people that you seem to belong to. In both cases I’m talking about black people as a group, because at the time that’s the topic I felt was the closest to heart and something that I could make happen visually. It was an important topic for me to talk about and something I’ve dealt with all my life. Growing up in rural Alberta it’s something you’re made very aware of, so it was something I wanted to express. Both those pieces are about the challenge and the power to define you as opposed to being defined from the outside. I’d say in general however, where my inspiration comes from really depends on the piece. Sometimes I just want to do something that’s fun to paint and not worry about the final result.

Malcom X and MLK Armwrestling as Observed by C. Delores Tucker, Tupac Shakur, Fred Hampton, and Marcus Garvey. 12” x 12”. Acrylic on canvas. 2012.

What made you want to venture into a creative career?Well, it took a lot of experimentation for me. I’ve been creative and into the arts since I was a kid, but it took me a while to realize that it was my calling… something that I wanted to make into a career. It’s hard for me to choose a specific turning point. I was in school for the sciences for several years then switched into arts. I always did well in the sciences but I couldn’t really see myself doing that as a career so I chose to follow my passion. One important catalyst I remember was my grandma telling me to just go do it, so I’m sure that was a big part of it.

Grandma always knows.(Laughs) Grandma always knows, for sure.

So you went to MacEwan for their Design program, right?Yup, majored in illustration; [graduated in 2012].

Do you think that graduating from the program and having that formal training has helped you in your illustration work, or more in your design?The design part of the program is what helped me the most. Learn-ing to analyze things in design terms and look at things as a design challenge. Every piece of art and every illustration is a challenge in terms of design, right? How to convey a piece of information most efficiently while still making it interesting. So incorporating that at-titude in my style has been the most useful.

Do you feel you’re more influenced by other artists or by random everyday things?I’d say both. I can see a texture on a brick wall that would make me think of something, and later on I’m painting based on that experi-ence. I guess there are a few people along the way whose work has inspired me. When I see somebody’s work and it blows me away, I feel like it changes me as a person; just that one chance encounter has changed my life path and I want to be able to share that with people.

How do you come up with your ideas?Well with the [Martin Luther King/Malcom X] piece and Definitions Of The Self [with Pam Grier and the little Sambo character], those are about similar topics; about the power to define yourself or to define the group of people that you seem to belong to. In both cases I’m talking about black people as a group, because at the time that’s the topic I felt was the closest to heart and something that I could make happen visually. It was an important topic for me to talk about and something I’ve dealt with all my life. Growing up in rural Alberta it’s something you’re made very aware of, so it was something I wanted to express. Both those pieces are about the challenge and the power to define you as opposed to being defined from the outside. I’d say in general however, where my inspiration comes from really depends on the piece. Sometimes I just want to do something that’s fun to paint and not worry about the final result.

Malcom X and MLK Armwrestling as Observed by C. Delores Tucker, Tupac Shakur, Fred Hampton, and Marcus Garvey. 12” x 12”. Acrylic on canvas. 2012.

My main goal with my work is to inspire and empower, and I just want to make sure I get closer and closer to that goal.

Mutant Science (detail) Aerosol on the first Edmonton Free Wall (2012)

My main goal with my work is to inspire and empower, and I just want to make sure I get closer and closer to that goal.

Mutant Science (detail) Aerosol on the first Edmonton Free Wall (2012)

So how often do you go into a piece where you plan ahead?Usually with a large-scale piece or something that is going to be seen by an audience. But when I’m at home working on a per-sonal piece I usually give myself more leeway; it’s a laboratory for me and a chance to experiment.

You have a lot of experience working with the local hip-hop community in Edmonton. Has that influenced your work?Yeah, I can see a lot of different ways it’s influenced my work. For as long as I’ve been into music I’ve been attracted to hip-hop. It’s a musical style that speaks to me and I think reflects my experi-ences, so it’s definitely carried into the subject matter I’m paint-ing right now. It’s more of a convergence with me and the hip-hop community; I’m painting hip-hop-oriented stuff, they see that and are attracted to my work and I’m attracted to theirs. It creates community that way.

That in mind, what would you say to those who may not be from Edmonton who feel like we don’t have much going in terms of an arts scene?Well, I’d say, “Y’all aint been paying attention” (laughs)We have a lot of really talented artists here, and a growing sense of community especially within the hip-hop world, but also with Edmonton as a whole. There’s a great Edmonton pride thing that I’ve seen grow over the past few years as well. Sometimes people just choose not to see things.

Lastly, where do you hope your work will take you?I guess in some sense I’m willing to follow my work. I’d love to see where it wants to take me. For the amount I do have control over I’d like to say more with less— I guess that’s part of my design thinking. You can speak to more people like that. It’s more power-ful and there’s a lot less lost in the conversation. I’d also like to paint on a bigger scale; the mediums I’m most attracted to have some really interesting effects at large scales. I’d also like to be able to share my work with more people. My main goal with my work is to inspire and empower, and I just want to make sure I get closer and closer to that goal.

2013 is a busy year for AJA Louden.

“I’m part of the committee for Hip Hop in the Park that puts on a big festival every May. At the end of June, [I ran] a summer camp at Inhuman that I designed to teach youth about art making and art history through the lens of street art. In August, I’ll be working on a large-scale mural, and in September I’ll be helping set up the new Open Source Mural walls, pending a final round of approval.”

To see more of Louden’s work, check out ajalouden . blogspot. ca

Definitions Of The Self 12” x 12”. Acrylic on canvas. 2011.

So how often do you go into a piece where you plan ahead?Usually with a large-scale piece or something that is going to be seen by an audience. But when I’m at home working on a per-sonal piece I usually give myself more leeway; it’s a laboratory for me and a chance to experiment.

You have a lot of experience working with the local hip-hop community in Edmonton. Has that influenced your work?Yeah, I can see a lot of different ways it’s influenced my work. For as long as I’ve been into music I’ve been attracted to hip-hop. It’s a musical style that speaks to me and I think reflects my experi-ences, so it’s definitely carried into the subject matter I’m paint-ing right now. It’s more of a convergence with me and the hip-hop community; I’m painting hip-hop-oriented stuff, they see that and are attracted to my work and I’m attracted to theirs. It creates community that way.

That in mind, what would you say to those who may not be from Edmonton who feel like we don’t have much going in terms of an arts scene?Well, I’d say, “Y’all aint been paying attention” (laughs)We have a lot of really talented artists here, and a growing sense of community especially within the hip-hop world, but also with Edmonton as a whole. There’s a great Edmonton pride thing that I’ve seen grow over the past few years as well. Sometimes people just choose not to see things.

Lastly, where do you hope your work will take you?I guess in some sense I’m willing to follow my work. I’d love to see where it wants to take me. For the amount I do have control over I’d like to say more with less— I guess that’s part of my design thinking. You can speak to more people like that. It’s more power-ful and there’s a lot less lost in the conversation. I’d also like to paint on a bigger scale; the mediums I’m most attracted to have some really interesting effects at large scales. I’d also like to be able to share my work with more people. My main goal with my work is to inspire and empower, and I just want to make sure I get closer and closer to that goal.

2013 is a busy year for AJA Louden.

“I’m part of the committee for Hip Hop in the Park that puts on a big festival every May. At the end of June, [I ran] a summer camp at Inhuman that I designed to teach youth about art making and art history through the lens of street art. In August, I’ll be working on a large-scale mural, and in September I’ll be helping set up the new Open Source Mural walls, pending a final round of approval.”

To see more of Louden’s work, check out ajalouden . blogspot. ca

Definitions Of The Self 12” x 12”. Acrylic on canvas. 2011.

Dear Hip-Hop,I just wanted to take a minute to tell you that I love you. I know you don’t hear it too often these days, but it’s true, and you deserve to hear it. I see you. I see you for who you are. You are radiant and beautiful, and at the same time you don’t take any crap... I admire that about you.

I know you’re misunderstood, but I understand you. You are not music, but you are inspiration for the greatest songs ever composed. I despise how some people treat you like a whore. I know you don’t kick it like that, but really, at the end of the day... that’s their problem and not yours. You’re right in front of them, yet they can’t see you for who you are. It’s so sad. It’s like the tycoon who only sees money when he looks at a forest. He puts a price on something priceless and tries to destroy it—destroying himself in the process. And you know what? The forest grows back stronger. I’ve been watching you for a good long while now, Hip-Hop, and I can see you getting stronger too.

I’ve gotta tell you some truth. I can throw compliments at you ‘cause I know you like that. Compliments can make you feel good for a minute, but a full meal is not found in compliments. So... here it goes. I look back to the moment you came into my life— it’s vivid. I think about where I was and where I am now, and I’m blessed to have you in my life. You’ve become a part of me—a part that I am not willing to give up. You make me better. You push me to be the best I can be. You make me want to master myself. I know you’re with me and down for me in a major way ‘cause even when it got hard for me, you stuck it out. A lot of people walked away; a lot of people exposed their true colors and made things impossible. You, though… you didn’t walk away. You proved that your true col-ors are beautiful.

I want to tell you that I’m down for you the way that you’re down for me. Things may get shaky for you— they may get hard— but I’m gonna stick it out with you. I won’t take off; I won’t walk away; my true colors are solid… and they are down for you, Hip-Hop. We can make it through anything. And we will. I cannot wait to see you again.

Lots of love,iD

Original image: flickr

Dear Hip-Hop,I just wanted to take a minute to tell you that I love you. I know you don’t hear it too often these days, but it’s true, and you deserve to hear it. I see you. I see you for who you are. You are radiant and beautiful, and at the same time you don’t take any crap... I admire that about you.

I know you’re misunderstood, but I understand you. You are not music, but you are inspiration for the greatest songs ever composed. I despise how some people treat you like a whore. I know you don’t kick it like that, but really, at the end of the day... that’s their problem and not yours. You’re right in front of them, yet they can’t see you for who you are. It’s so sad. It’s like the tycoon who only sees money when he looks at a forest. He puts a price on something priceless and tries to destroy it—destroying himself in the process. And you know what? The forest grows back stronger. I’ve been watching you for a good long while now, Hip-Hop, and I can see you getting stronger too.

I’ve gotta tell you some truth. I can throw compliments at you ‘cause I know you like that. Compliments can make you feel good for a minute, but a full meal is not found in compliments. So... here it goes. I look back to the moment you came into my life— it’s vivid. I think about where I was and where I am now, and I’m blessed to have you in my life. You’ve become a part of me—a part that I am not willing to give up. You make me better. You push me to be the best I can be. You make me want to master myself. I know you’re with me and down for me in a major way ‘cause even when it got hard for me, you stuck it out. A lot of people walked away; a lot of people exposed their true colors and made things impossible. You, though… you didn’t walk away. You proved that your true col-ors are beautiful.

I want to tell you that I’m down for you the way that you’re down for me. Things may get shaky for you— they may get hard— but I’m gonna stick it out with you. I won’t take off; I won’t walk away; my true colors are solid… and they are down for you, Hip-Hop. We can make it through anything. And we will. I cannot wait to see you again.

Lots of love,iD

Original image: flickr

By Becky Hagan-Egyir

A Look Inside Edmonton’s Hip-Hop Culture

RepResentYEG

Jo Thrillz | Photo: NGYOFACE

By Becky Hagan-Egyir

A Look Inside Edmonton’s Hip-Hop Culture

RepResentYEG

Jo Thrillz | Photo: NGYOFACE

How does Edmonton inspire your music?“You listen to rap music from New York or Europe and there’s a differ-ent sound. You listen to rap music from around here and it has its own sound— you don’t hear songs in California with people rapping about three feet of snow, but you hear it in Edmonton!”

MC/founder of Hip Hop in the Park

What makes breaking in Edmonton stand out from other Canadian cities?“The mindset in other cities can be seen in their different styles. In Van-couver people are “hungry”— their moves are more aggressive. In Win-nipeg their moves are “raw” and they want to outdo you on the dance floor. In other places like Toronto, there’s a lot of division because of the size of the city. Whereas here [in Edmonton], there’s a lot of love and less division… and since we’re in the West Coast we have more power moves in our breaking.”

Pharush

breakdancer

What hip-hop artists influence your work?“There are many artists that inspire my work. Artists like Drake, Clas-sified, SonReal, Rich Kidd, Shad, and Madchild are current motivators. But I was raised on Wu Tang, Nas, Cypress Hill, Skee-Lo, Eazy-E, Biggie… the list goes on.”

Jo Thrillz

What hip-hop artists influence your work?“As far as graffiti artists go I’d say Adrian Louden has influenced my work. A little while back I saw a documentary on Basquiat [whose career be-gan as a graffiti artist in the late ‘70s and early ‘80s], and after seeing him become so successful by just doing his thing I wanted to grab my sketchbook and start using those drawings as references for my own paintings.”

Lorien Maheu

artist

How does Edmonton inspire your music?“You listen to rap music from New York or Europe and there’s a differ-ent sound. You listen to rap music from around here and it has its own sound— you don’t hear songs in California with people rapping about three feet of snow, but you hear it in Edmonton!”

MC/founder of Hip Hop in the Park

What makes breaking in Edmonton stand out from other Canadian cities?“The mindset in other cities can be seen in their different styles. In Van-couver people are “hungry”— their moves are more aggressive. In Win-nipeg their moves are “raw” and they want to outdo you on the dance floor. In other places like Toronto, there’s a lot of division because of the size of the city. Whereas here [in Edmonton], there’s a lot of love and less division… and since we’re in the West Coast we have more power moves in our breaking.”

Pharush

breakdancer

What hip-hop artists influence your work?“There are many artists that inspire my work. Artists like Drake, Clas-sified, SonReal, Rich Kidd, Shad, and Madchild are current motivators. But I was raised on Wu Tang, Nas, Cypress Hill, Skee-Lo, Eazy-E, Biggie… the list goes on.”

Jo Thrillz

What hip-hop artists influence your work?“As far as graffiti artists go I’d say Adrian Louden has influenced my work. A little while back I saw a documentary on Basquiat [whose career be-gan as a graffiti artist in the late ‘70s and early ‘80s], and after seeing him become so successful by just doing his thing I wanted to grab my sketchbook and start using those drawings as references for my own paintings.”

Lorien Maheu

artist

I’m hearing a revelation about hip-hop from Sonny Grimezz, a DJ and member of Edmon-ton’s hip-hop music group Politic Live, and it’s very different from what I learnt as a girl. Hip-hop was the anthem of “people with bad morals” as some teachers said, but Sonny tells me about hip-hop’s power. He’s one of many in Edmon-ton who understand the world better be-cause of hip-hop. Critiques on society, politics, economics and neighbourhood events are all channelled through hip-hop culture.

Hip-hop artists in Edmonton know that the culture has its problems and that people tend to focus on its darker side with glamorized violence and risky morals. “A lot of people get it confused. Many [hip-hop] artists rap about their experiences and what they’ve gone through… They don’t endorse certain nega-tive things like violence, but other artists do. Rap has both sides of the spectrum,” rapper Jo Thrillz confirms. But the Edmonton hip-hop community believes that there’s more good than bad to hip-hop, and as the rappers of Locution Revolution told me, “there will al-ways be people to school”.

RecoveRing hip-hop’s pAstTaking the public to “school” begins with a connection to the past. This doesn’t mean Edmonton hip-hop artists rap rhymes like Grand Master Flash “…Don’t push me ‘cause I’m close to the edge…” or dress up in velvet tracksuits, rocking their b-boy moves to over-sized boom boxes. Instead, they connect with the message that’s been there from the be-ginning— empowerment—and share it with the city.

In 2001, hip-hop culture was recognized for its goal to empower people with the Hip-Hop Dec-laration of Peace. It was signed by artists and agencies like UNESCO and the Temple of Hip-Hop, and was presented to the United Nations. To further this, the Declaration named the third week of May Hip-Hop Appreciation Week.

“[it began as] the voice of people who didn’t have a voice. today, it’s our news channel—how someone from edmonton can communicate with someone across the world.”

Politic Live | Photo: Pedersen

I’m hearing a revelation about hip-hop from Sonny Grimezz, a DJ and member of Edmon-ton’s hip-hop music group Politic Live, and it’s very different from what I learnt as a girl. Hip-hop was the anthem of “people with bad morals” as some teachers said, but Sonny tells me about hip-hop’s power. He’s one of many in Edmon-ton who understand the world better be-cause of hip-hop. Critiques on society, politics, economics and neighbourhood events are all channelled through hip-hop culture.

Hip-hop artists in Edmonton know that the culture has its problems and that people tend to focus on its darker side with glamorized violence and risky morals. “A lot of people get it confused. Many [hip-hop] artists rap about their experiences and what they’ve gone through… They don’t endorse certain nega-tive things like violence, but other artists do. Rap has both sides of the spectrum,” rapper Jo Thrillz confirms. But the Edmonton hip-hop community believes that there’s more good than bad to hip-hop, and as the rappers of Locution Revolution told me, “there will al-ways be people to school”.

RecoveRing hip-hop’s pAstTaking the public to “school” begins with a connection to the past. This doesn’t mean Edmonton hip-hop artists rap rhymes like Grand Master Flash “…Don’t push me ‘cause I’m close to the edge…” or dress up in velvet tracksuits, rocking their b-boy moves to over-sized boom boxes. Instead, they connect with the message that’s been there from the be-ginning— empowerment—and share it with the city.

In 2001, hip-hop culture was recognized for its goal to empower people with the Hip-Hop Dec-laration of Peace. It was signed by artists and agencies like UNESCO and the Temple of Hip-Hop, and was presented to the United Nations. To further this, the Declaration named the third week of May Hip-Hop Appreciation Week.

“[it began as] the voice of people who didn’t have a voice. today, it’s our news channel—how someone from edmonton can communicate with someone across the world.”

Politic Live | Photo: Pedersen

“ Why wouldn’t you share something that helped you find your identity...”

-Pharush, United 1ne dance crew

Pharush | Photo: Howard Cameron

“ Why wouldn’t you share something that helped you find your identity...”

-Pharush, United 1ne dance crew

Pharush | Photo: Howard Cameron

While Edmonton artists may not have signed the Declaration, many are fully committed to it. Hip-Hop in the Park, created by Locu-tion Revolution’s iD, occurs the third week of every May to honour Hip-Hop Appreciation Week. An event like this one, which just had its sixth running, not only showcases the cul-ture to the city, but allows hip-hop to become

“beauty in its purest form” as expressed by breaker Pharush.

Other artists, like painter Lorien Maheu, agree with Pharush’s statement, saying,

“[Hip-Hop in the Park] is a great place to watch, learn and build confidence as an artist.” The public also gains confidence in hip-hop art-ists when they see their passion as they per-form. Mitchmatic, who has performed there four times, adds that it “works really well for changing people’s perception [about hip-hop]”. The negative ideas people have about hip-hop change when they hear and see sto-ries of ordinary lives becoming extraordinary.

“imagine the strength, ‘cause momma there must bethe humility that must accompany begging for moneystripped of all pride, but your baby’s hungergives you the strength to be just another number.”

This verse from Wanty Wanty on Politic Live’s album, Ellipsis, helps listeners empathize with situations they might not live with, like welfare.

“…There are a lot of stories that aren’t being told,” says Politic Live’s Arlo Maverick. He re-flects on the Edmonton hip-hop community’s desire for us realize that we can empower each other by putting ourselves in someone else’s shoes— like the hip-hop artists before them. He continues, “Hip-hop is very much about where you’re from. We take a lot of pride in our city. Politic Live’s Dirt Gritie fin-ishes, “Being community-minded is a big part of who we are.”

the ARt of individuAlity Many artists develop as individuals by shar-ing their talents with the community. “Why

wouldn’t you share something that helped you find your identity with other people?” Pharush remarks with confidence, referring to dancing with his crew, United 1ne, fellow hip-hop dancers and DJ and mentor, Creea-sian, at Churchill Square on Thursday nights.

Pharush’s identity as a breaker began with his determination to prove that breaking

involved just as much skill and discipline as studio dances like jazz or ballet. He found-ed his crew United 1ne along with fellow dancer Poppin Fresh.

Pharush says, “People don’t understand the roots of b-boying— a b-boy or girl is their own person.” When he dances, he mixes breaking moves with other dance genres like salsa, First Nations grass danc-ing, and even ballet, to help people see the unexpected in breaking. Being open to other dance forms and cultures has taken him across Canada, particularly to help youth be comfortable with their identities.

“Everybody has a creative potential— dance doesn’t limit you. You get to a point where you’re not thinking [when you’re breakdancing], ‘cause you’re in the mo-ment.”

He’s seen many moments where youth feel proud of their dance accomplishments while working with friend and mentor, Con-way Kootenay, who’s a member of Red Power Squad. The Squad uses hip-hop to empower inner city youth. Kootenay taught him about First Nations culture, and with this knowledge, Pharush began doing work-

shops in schools with United 1ne and Kootenay in Edmonton where he says they demonstrated “culture and not just steps” to students.

edmonton hip-hop’s futuRe?Lorien Maheu’s paintings aren’t what you expect when you think of hip-hop art or graffiti.

“Graffiti has always been a hard topic for me to discuss. I’ve often heard the stereotypical saying of how it’s not art, it’s just vandalism,

but I love graffiti! In my opinion, it’s as beautiful as a Dutch land-scape or impressionistic painting.” Maheu admires graffiti’s form and style, but he doesn’t see himself as a graffiti artist or street artist even though his work is appearing at more hip-hop events like Hip-Hop in the Park.

Ideas about what hip-hop can be, like what defines graffiti, are changing. Technology plays a role in promoting this change.

The future of hip-hop lies in the past for some artists. Mitchmat-ic’s comedic 2013 Edmonton Music Award nominated song Why Don’t You Know? uses a track from the ‘50s to create a sound that’s distinctly fresh and different. Other artists like Jo Thrillz, who has wanted to be a rapper since he was six, capitalize on social media sites like YouTube to make childhood dreams a reality.

Five years from now people will either love or hate hip-hop— as it’s always been. But no matter how people feel, hip-hop will never stop being an experience that people react to. Locution Revolution’s Khiry Tafari believes people should always react to how artists work to improve hip-hop. “Hip-hop allows me to use my voice to do valuable work,” he says,

“maybe we don’t have a lot of people listening, but at the same time, what’s more important is making the effort to get them to listen.”

hip-hop culture began in New York as a reaction to injustice in the 1970s. Breaking away from carefree disco culture, hip-hop looked at the lives of mar-ginalized people and used their struggles to create gritty, in-your-face emotions through DJing, rapping, breaking, and graffiti. Today, hip-hop uses its traditional roots and our modern commercial society to communicate to people across the world. Look out for

part two of our hip-hop feature on Marker’s website in August.

Locution Revolution | Photo: Nathanael J. Sapara. Lorien Maheu