Filipino_hip_hop by zzzmarcus


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Filipino hip hop

Filipino hip hop
Filipino hip-hop is hip-hop music performed by musicians of Filipino descent, both in the Philippines, and overseas, especially by Filipino-Americans. This article focuses first on Filipino hip-hop in the Philippines, and secondly on that in the USA. The Philippines is known to have had the first hip-hop music scene in Asia[1] since the early 1980s, largely due to the country’s historical connections with the United States where hip-hop was originated. Rap music released in the Philippines has appeared in different languages or dialects such as Tagalog, Chavacano, Cebuano, Ilocano and English. In the Philippines, Francis M and Andrew E are cited as the most influential rappers in the country, being the first to release mainstream rap albums. In the USA, of The Black Eyed Peas, Cassie Ventura and Chad Hugo of The Neptunes and N.E.R.D are cited as the most successful Filipino-Americans in the music industry. loosely translating into hometown or homeland.[2] The intimate relationship between hip-hop culture and the large Filipino American community along the United States West Coast naturally resulted in the exportation of rap music back to the Philippines. Numerous cassette tapes, videos, books and magazines concerning hip hop issues and popular rap artists would be sent out by Filipinos to family members back in the islands. The towns and barrios surrounding the numerous American military bases that were scattered throughout that country such as Clark Air Base in Angeles City and Subic Bay Naval Base in Olongapo were among the earliest to be exposed to the culture; as contact with African-American, Filipino American and Latino servicemen resulted in some of the earliest exposure the locals had to the new musical genre.[3] Groundbreaking hip hop films such as Wild Style (1982), Breakin’ (1984) and Krush Groove (1985) were also major influences; and as early as 1982 local breakdancing crews like the Angeles City based Whooze Co. International, with members consisting primarily from Clark Air Base, The Eclipse (whose former members included Francis Magalona, Dance 10’s Darwin Tuason and current Federation Sounds’ Glenn "Kico" Lelay), Info-Clash Breakers and Ground Control (members included Rap Master Fordy, later to be known as Andrew E. and Jay "Smooth" MC of Bass Rhyme Posse) became mainstays in local parks and malls in and around the Metro Manila area such as Glorietta Mall, which was an early hotspot for breakers. Several mobile DJ crews of the era included such names as the Rock All Parties Crew which emerged onto the scene only to produce such future Pinoy rap pioneers as Andrew E. and Norman B.

Origins: The roots of hip-hop in the Islands
The beginnings of hip-hop culture in the Philippines can be attributed to several main factors; the innate of them being the heavy influx of American musical styles in that country as reflected in the widespread popularity during the 1960s of Motown artists The Temptations, The Supremes and The Jackson Five and later in the 1970s of Funk, Soul and Disco music. Bands such as The Commodores, The Gap Band, James Brown, Con Funk Shun, The Bar-Kays and Earth, Wind and Fire among many others received heavy rotation on Manila airwaves. The future importation of hip hop culture and music, similar to the previous genres mentioned can be credited to the direct contact Filipinos received with both Americans and Filipino Americans, or as they are commonly called balikbayans, stemming from the root words "balik" meaning to come back and "bayan"

1980s: Seeds of a movement, from the South Bronx to Metro Manila
The birth of Filipino hip hop music (commonly called Pinoy Rap and its emcees


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Rapistas) came in the early 1980s, with early records from Dyords Javier (Na Onseng Delight)[4] and Vincent Dafalong (Nunal), both records released in 1980. Early influences on the genre included American hip-hop icons Grandmaster Flash & the Furious Five, The Sugarhill Gang, Kurtis Blow, Run-D.M.C., Ice T, KRS-ONE & Boogie Down Productions and Eric B. and Rakim among many others. The genre developed an underground following in Metro Manila during the 1980s. In late 1989, former DJ and breakdancer Andrew E., or, as he was then called, Rap Master Fordy, introduced two of his friends from the mobile DJ group Rock All Parties Crew, Norman B. and Andy "Luv" MD, to J "Smooth" MC, an acquaintance from Andrew’s breakdancing days. The trio would go on to form the group Pine Rhyme (for Las Piñas City, the area from which they hailed), later to be renamed the Bass Rhyme Posse.[5] The pioneering act was Pinoy hip hop’s first rap group and would release their self-titled debut album on VIVA Records in 1991 which spawned the cult hits Let the Beat Flow, Buhay Estudyante (Student Life) and Juan T. becoming the genre’s first rap group to release a record.[6] The genre soon entered the mainstream with Francis Magalona’s debut album, Yo!, which included the nationalistic hit "Mga Kababayan (My Countrymen)". Magalona (widely known by the aliases Francis M., The Man from Manila, and Master Rapper), a former breakdancer from The Eclipse crew who rapped in both English and Tagalog, became an instant superstar and the first rap icon in the Philippines as a result.[7] More stars followed in Magalona’s footsteps, including Pia Arroyo whose (Loving You) duet track with Francis M. marked the first time a female had rapped on record in the country, Lady Diane (The First Lady of Rap), Andrew E. (Humanap Ka Ng Pangit) (Look For Someone Ugly), Bass Rhyme Posse (The Bass Rhyme Posse), Denmark (I’m Markie D.!), Michael V. (Maganda Ang Piliin) (Pick Someone Pretty), Rapasia (Hoy! Tsismosa), Marcelo (Di Ka Ba Marunong Umayaw), M.C.M.C. aka The Triggerman (Ayoko Na Ng Panget) Rapi Boys, and MC Lara, who released a self-titled album. AM Kidd and Topkat are Filipino-American rappers emerging from the Bay Area rap scene.

Filipino hip hop

1990s: The Golden Age
Known as the "Golden Age" of Pinoy Hip Hop, the 1990s marked the beginning of many rapid stylistic innovations beginning in 1991 with the establishment of the Disco Mix Club Philippines which was one of the earliest platforms for Philippine DJ mixing battles. Early innovators of the style included DJs Carlo Yalo, Noel Macanaya, Rod "DVS" Torres and Omar Lacap among others.[8] Following the path set forth by their Bass Rhyme predecessors, the tri-lingual rap group Rapasia released their self-titled debut record in 1991, garnering the hit "Hoy! Tsismosa". One of the earliest Filipino hip hop groups to embrace such an abstract format, the album’s lyrical content often contained a mixture of various Philippine languages (including Tagalog and Chavacano) along with English.[9] Rapasia’s innovative style would later be built upon years later by other Pinoy rap groups such as Zamboanga’s Ghost 13. Rapasia’s members included Martin "Bronx" Magalona, brother of Pinoy rap entrepreneur Francis Magalona. MastaPlann was also another group that did all their music in English. The group had 3 deejays and 2 mcs. The mcs were known as Type (Johnny Luna) and Tracer One (Butch Velez brother of famous actor Vivian Velez). MastaPlann released 3 albums that went multi-platinum. Mastaplann is an all-Filipino Hip Hop group that was formed in 1992 in the Philippines, with original group members Butch Velez aka Tracer One, Johnny Luna aka Type Slickk, Disco Mix Competition DJs Sonny Abad, Noel Macanaya aka DJ MOD, Lopi Guzman aka DJ Lopi, and managed by Jesse Gonzales. Butch and Johnny were balikbayans from the San Fernando Valley near Los Angeles, CA, Sonny a balikbayan from Hercules, CA, near the San Francisco Bay Area and Noel and Lopi native Filipinos. In 1992, Mastaplann was signed by Universal Records, where they released two records; in 1993, their debut eponymous release, and in 1994, The Way of tha Plann. These albums eventually obtained platinum status and are still selling worldwide. In 1995, Butch and Johnny went back to the states to take a hiatus from the scene. In 2000, they released a third album through BMG Records, under the new sub-label, Red Egg Records entitled, an obvious reference to their newly developed website. Additionally,


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the group scaled down their line-up to just Butch and Johnny, and then added Johnny Krush, another balikbayan from the San Francisco area. This album has already obtained gold status in the Philippines, and is also still selling. Currently, the group is based in the States where they still perform and make music. Mastaplann is currently working on their fourth album, yet to be titled, to be released under True Asiatik Productionz. The following year marked a turning point for Pinoy rap with the release of Francis M.’s influential second album, Rap Is Francis M (1992), which is highly regarded as one of the greatest Pinoy Rap albums. Ushering in a socially-awoken wave not seen in the Philippine music industry since the heyday of Juan De La Cruz, Sampaguita and 1970s Pinoy rock; Magalona’s tracks dissected the various cultural, social & political problems that plagued his country such as drug addiction in "Mga Praining" (The Addicts), political corruption and instability in "Halalan" (Election) as well as the detrimental effects of a colonial mentality to Filipino culture in "Tayo’y Mga Pinoy" (We Are Filipinos), the record’s complexity and socially sentient message quickly earned it its classic status and became the standard by which future albums of the genre were to be compared to. Magalona’s enduring contributions to the genre would later be recognized in the All Music Guide to Hip-Hop: The Definitive Guide to Rap and Hip-Hop (2003) published by Backbeat Books;[10] as well as in the U.S.-based hip hop publication The Source (magazine) (May 2004). In 1994, going against the wave of radiofriendly rap tracks that dominated at the time, Death Threat released the first Filipino gangsta rap album which told tales of the daily lives and struggles impoverished Filipino youth faced growing up in the slums of Metro Manila’s barrios entitled Gusto Kong Bumaet (I Want To Be Good).[11] In 1997, the underground Pinoy rap group Pamilia Dimagiba released their groundbreaking album Broke-N-Unsigned on Tenement Records, marking the re-emergence of the conscious emcee in Pinoy rap. A coalition of sorts, Pamilia Dimagiba composed itself of several underground Pinoy rappers and crews such as 8th Messenger, Shadowblyde, Spoon, Murder-1 of Khan’s Assassins and Young Galaxy of Iron Triangle among

Filipino hip hop
others. The raw seven-track, politically minded album was a breath of fresh air at the time; as Pinoy rap during the era had taken a more hardcore, gangster persona. Known for their coarse lyrics, serious subject matter complemented by heavy beats fused within traditional Filipino folk music; the camp’s records by the names of "Duelo", "Manila’s Finest", "Reality Hurtz" and "Brainstorming" among others were largely in essence a throwback to the early, nationalistic Francis M. inspired days of the genre.[12] Another Filipino hip hop artist who achieved prominence during the 1990s is the formerly Los Angeles-based DJ Andrew E. (born Andrew Espiritu), whose tracks "Humanap Ka Ng Panget" and "Makati Girl" (as done by Norman B. of Bass Rhyme Posse; was the first Pinoy rap track recorded to contain beatboxing) became monster hits in the Philippines, rivaling even Francis M.’s previously untouchable reign on top Pinoy rap’s throne. Prior to landing a recording contract, the rapper had competed in various rap contests around the Philippines; the likes of which also produced Pinoy rap stars Michael V., Denmark and Martin "Bronx" Magalona. Andrew E.’s 1991 hit "Humanap Ka Ng Pangit" (Look For Someone Ugly) was the first to spawn a plethora of response records from other rappers in the country, such as Michael V.’s "Maganda Ang Piliin" (Pick Someone Pretty). The rapper’s ability to combine unique storytelling with raunchy and humorous wordplay laced with catchy beats made Andrew the first of his kind in the genre.[13] He then went on to release a movie entitled Andrew Ford Medina: Huwag Kang Gamol in 1991 which was the first film in the Philippines to include a full-on freestyle battle on screen. By the mid-1990s he had established his own record label, the controversial Dongalo Wreckords, as well as many successful rap groups, including Cebuano rappers The Anthill Mobb, Madd Poets and Bicolano rappers Salbakuta. The former, known for their complex and versatile lyrical ability achieved fame with their debut album Ikatlong Mundo. In 1997, Andrew E. produced and hosted the first Pinoy rap television show, Rap 13. Other popular rap artists and groups included Cirkulo Pugantes, El Latino, Mastaplann, Verbal Sativa, Kulay, Legit Misfitz, Pariente, Urban Flow, Sun Valley Crew, and Mega Force Crew (*formerly known as Grand Assault Tribe).


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The widespread popularity of Pinoy rap in and around the islands has resulted in the spawning of a new breed of Pinoy emcees: Junior Rapistas. Far from being a new trend, Jamie "Baby" Magtuto and her 1991 hit single "Eh! Kasi Bata" (’Cause I’m a Kid) was an early example of Pinoy kiddie rappers. The single was also included in the soundtrack for Jamie’s motion picture debut of the same name released later that year.[14] The 2000s saw the resurgence of grade school rappers in Filipino Hip Hop. 2005 was a breakthrough for kid rappers in the Philippines as Aikee, through the Madd World/ Circulo Pugantes Camp released his debut Ang Bawat Bata (Every Child) on Alpha Music and at eleven years of age, became the youngest Filipino rapper to release a full rap album,[15]

Filipino hip hop
American artists to perform live, sell records, and win awards in the Philippines while living in the States, for example Pikaso from San Francisco, California who won the Producer of the Year award in 2008[19]. In 2002, Carlo Maniquiz and Nick Tuason, together with the assistance of FUBU’s headquarters in New York City, established the FUBU Philippines clothing line, opening up several stores in the Philippines. In promotion of the new franchise, Francis M released a compilation album showcasing new local hip-hop talent[20] as well as two volumes of Tha Rappublic of the Philippines which featured more unsigned Filipino artists. Francis M would also go on to form his own clothing line in 2006 called Francis Magalona Clothing Company (FMCC) which are sold at his own branches of stores called Three Stars & a Sun.[21] "The F-Word" was an album Francis M was rumored to be working on in 2008 to follow his last album from 2000, but leukemia and other health problems interfered later that year.[22] The popularity of artists such as DiCE and k9 aka Mobbstarr, Pikaso, and Krook and J.O.L.O., who primarily use English lyrics in their tracks, has given way to the on-going divide between Tagalog lyricists and English lyricists. With English tracks dominating the air waves, several Tagalog-based emcees have felt a sort of bias in the Philippine music industry, which favors artists who use English rather than Filipino. The conflict over language became evident in the 2004 Black Eyed Peas concert in Manila in which rapper Mike Swift’s Tagalog-based track was cut short halfway through the song due to the "English Only" policy enforced by the event’s organizers towards Black Eyed Peas’ opening acts. [23] Rap group Salbakuta recorded the track "Ayoko Ng Ganitong" whose lyrics partly attacks such "English Only" Pinoy rap artists. In 2008 Filipino audience shocked by the hiphop group DiCE & k9 aka MOBBSTARR’s 1st single in their 4th studio album EARGASMIC & 2nd single RENDEZVOUS for the fusion of hiphop & house music. The songs topped radio & music video channels. Also became most popular in the clubs.

2000s: Philippine Hip-Hop Today
In the new millennium, Filipino hip-hop rivalled Pinoy rock’s traditional popularity amongst Filipino youth. Artists who are currently active and have released both rap albums and music videos in the Philippines since 2000 include: Andrew E, D-Coy, Denmark, Francis M, Gloc-9, Krook & J.O.L.O., DiCE and k9 aka Mobbstarr, Pikaso, Salbakuta, and Thavawenyoz. Since 2004, the Philippine Hip-Hop Music Awards has been held annually in Metro Manila. The show is reminiscent of The Source Awards in the US. Gloc-9, considered the fastest rapper in the Philippines, held the title for Best Rap Artist at the awards show for three consecutive years, from 2005 to 2007, releasing successful albums every other year. Underground artist Nimbusnine gained critical recognition and nominations starting 2007 with songs like "Tilt Your Cap (Remix)."[16] Like the American hip-hop industry, music videos have become an important trend (even containing small cameos from different Filipino rappers) and air on TV channels like MTV Philippines and MYX. Despite Metro Manila’s powerful position over the music industry, rap groups in the south have started to gain their own share of popularity, like DiCE and k9 aka Mobbstarr from Cebu City with their first hit single "Itsumo" in 2003[17], and Thavawenyoz from Davao City with their debut album "Hubag" in 2005.[18] It also is not uncommon for Filipino-


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Filipino hip hop
Asian Pacific American group in the United States (after Chinese Americans),[26] and until 2000 were the largest Asian group in California. In West Coast hip hop, their role has been comparable to that of Puerto Rican artists on the East Coast, who were an integral part, along with African Americans, in the creation of the foundations of hip hop culture. As early as the late 1970s, during hip hop’s infancy, pioneering mobile Bay Area Filipino mobile DJ crews such as Sound Explosion, Unlimited Sounds, Electric Sounds, Fusion, Ladda Sounds, Ultimate Creations, Sound City Productions, Kicks Company, Images, Non-Stop Boogie, Imperial Sounds, Rok A Long and Sound Sequence among many others helped capitalize on the massive Filipino party scene by introducing the newly formed genre of music while spreading its popularity throughout South San Francisco and its surrounding areas through paid gigs on house/block parties, family gatherings, school pep rallies, weddings and church halls; primarily playing and mixing electro funk alongside Latin freestyle. Rival crews would often one-up each other by showcasing superior equipment and providing elaborate set-ups. Early mobile DJ stars included DJ Ren, (born Rene Anies) founder of one of the first Filipino American DJ crews Electric Sounds and DJ D-Styles, (born Dave Cuasito) who in 1987 established the mobile DJ crew Sound City Productions.[27] In 1983, a real-estate agent by the name of Mark Bradford established Imagine, which began primarily as a showcase for Filipino DJ talent in and around the Bay Area and came to serve as the premier event for DJs until the founders’ murder in 1991.The movement would reach its pinnacle in 1987, when more than one hundred mobile DJ crews would participate in all important DJ sound clashes and showcases. By the late 1980s, the mobile DJ movement had declined in popularity and had given way to the turntablist, largely due to the rise of Q-Bert and the innovation of scratching within the DJ community. The legacy of the mobile DJ would live on however; because many of the Bay Area turntablists that would go on to define the art in the 1990s such as Q-Bert himself, along with DJ Shortkut often had their beginnings in mobile DJ work.[28] Also in New York City, early hip hop musician and

Other elements of hip hop
The art of MCing or rapping in Filipino hip hop is also represented in other forms such as battle rapping, or freestyling. Several annual contests such as the Fête de la Musique[24] and the Blazin’ Freestyle Battle are held annually within the Philippines specifically aimed at showcasing such talents; often drawing masses of undiscovered, amateur Pinoy rapistas. Many other aspects of Filipino hip hop are embodied in other elements such as turntablism, with DJs DJ Coki, DJ Kimozave, DJ Rocky Rock, DJ Arbie Won, and DJ Sir Scratch among others. Philippine-based DJ crews such as The Megateam, Spindicate Posse and Samahang Ng Mga Turntabolista sa Pilipinas (S.T.P.) dominate DJing competitions such as the Disco Mix Club Philippines. Artists representing other elements include b-boy crews like The Battle Krew (TBK), Tru Asiatik Tribe (TAT) and The Balikbayan Tribe (BBT), grapistas or graffiti crews such as, SBA CRU, UAT, Elemento Syento Porsyento, Estrella Pasay Grafixerz (E.P.G), Farm Friends Kolektib (FFK), CIS as well as beatboxers like Christopher Oreo a.k.a. BoomBuster, Cool MC Norman B. of the Filipino rap group Bass Rhyme Posse.

Filipino-American hiphop
Birth of a culture
Filipino-American hip-hop culture bases its historical roots in the Filipino, Latino and African-American neighborhoods along the West Coast, specifically in the Los Angeles, San Francisco Bay Area, and San Diego. The movement that had been born in the south Bronx among Jamaican, Puerto Rican and African American youth in turn had its West Coast identity formed within the respective African-American, Filipino and Latino communities. Similar to the Filipino-American zoot suiters, be-boppers and ballroom dancers of previous generations, the dynamics within these respective communities would reincarnate itself once again in the form of hip hop.[25] Since the 1990 Census, Filipino Americans have made up the second largest


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Salsa legend Joe Bataan (half Filipino and half African American) had one of the first rap hits, "Rap-O Clap-O," in 1979, released on his Salsoul label.[29] In 1986, DJ Nasty Nes (of Rap Attack fame) of Seattle launched the specialty show "Fresh Tracks" on Seattle’s 1250 KFOX introducing the first ever hip-hop radio station on the West Coast. He would than later go on to serve as the DJ for pioneering Seattle rapper Sir Mix-ALot.[30] In the 1980s, several legendary Filipino BBoy groups such as the Renegade Rockers, Knuckleneck Tribe, Rock Force Crew, Daly City Breakers, Jughead Tribe and Concrete Rockers also emerged out of the bay area rivaling even the New York City based Rock Steady Crew, whose official West Coast contingent is known to consist of several Filipino American members.[31] Kalifornia Noize Terrorists’ Paul Sirate, better known as PKid[32] emerged out of the Bay Area becoming one of the early premier breakdancers and later went on to MCing and producing, lacing tracks for the likes of the Bronx’s Terror Squad and L.A.’s Pharcyde. Elsewhere in the Bay Area, pioneering Filipina rapper Lani Luv (born Melanie Caganot) became one of the early West Coast female MCs. Several tagging crews such as Oakland’s Those Damn Kids (TDK) were some of the originators of Graf Art on the West Coast. It was during this time in 1983 that TDK’s King Dream (born Michael Francisco) surfaced out of the graf art world. Francisco utilized his pieces to celebrate, express and educate from his own Filipino American background in order to promote tolerance while simultaneously strengthening bonds with others from differing cultures, eventually achieving international recognition.[33] Now deceased, (Dream was murdered in 2000)[34] he is considered by many to have been one of the greatest and most influential graf writers whose work had been expressive of his urban environment while focusing on social issues concerning not only Filipino Americans, but also other people of color in America such as police brutality, racism, nationwide liberation and rebellion.[35]

Filipino hip hop
the Invisibl Skratch Piklz) achieved prominence and came to dominate the DJ art form of scratching, introducing the world to a more innovative style of scratching utilizing a wide variety of new techniques, including the playing of actual melodies,[36] as well as the inventions of the crab scratch, tweak scratch, strobing, and furthering the development of flare scratching.[37] In 1996, the International Turntable Federation, which hosts the largest international turntablist competitions, was established by Alex Aquino. DJ Glaze of Long Beach’s Foesum have together been staples in the West Coast gangster rap scene since the G-Funk era of the 1990s. DJ Babu (born Chris Oroc) has gained notoriety for his work with the turtablism group Beat Junkies and the alternative hip hop act Dilated Peoples. Many other notable DJ champions from other countries around the world such as Canada, Australia, Japan and Germany have also been of Filipino descent.[38] Other notable DJs include DJ Kuttin Kandi of New York City’s 5th Platoon, DJ Icy Ice of Los Angeles’ KDAY 93.5 FM and DJ E-Man from Los Angeles’ Power 106 FM, DJ Marlino aka "da5footafunk" from San Diego’s XHITZ-FM Z90.3; From the Washington DC Area, DJ Enferno (2003 US DMC Champ/2003 1st Runner Up DMC World) and DJ Geometrix of the Trooperz Crew, From Texas, DJ Manila Ice (2007 DMC US Finalist) and DJ Jester the Filipino Fist. Another long time contributor is music producer and Hawaii’s 1st Hip Hop DJ Champion, Joseph Netherland, better known as, DJ ELITE of Elite Empire Entertainment, LLC. Two long time staples for entertainment in Sacramento, CA are DJ Eddie Edul and DJ Billy Lane.

The "raptivists"
Filipino American hip hop also infuses influences from the native Philippine literary art of Balagtasan, or Filipino spoken word poetry; although most Filipino American rappers primarily use English or "Taglish" in their lyrics, as opposed to their Philippinecounterparts. In the millennium, underground rap groups such as Blue Scholars, Native Guns (now defunct), and Kontrast have utilized this method in their styles, producing pure hip hop while promoting community activism and social consciousness through their lyrics, earning the title of

Rise of the turntablists: Built from scratch
By the 1990s, hip hop artists of Filipino descent (particularly turntablists like Q-Bert and


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"raptivists." Some groups, like San Jose, CA based Sons of Rebellion, also unify several communities through their music as they represent the Filipino American, African American, and Muslim experience.[39] Lyrics from Sons of Rebellion have even been used as part of a nationwide high school curriculum, for the technology based high school SiaTech, and tracks from former Native Guns member Kiwi’s album Writes of Passage: Portraits of a Son Rising have also been used in a Filipino-American literature course taught at San Francisco State University. Many socially conscious and community minded Filipino emcees often do benefit shows to help out the Filipino community locally and internationally. In February 2007, Filipino American emcees Kiwi, Kapatid X, Power Struggle, Praxis Roks, Blue Scholars, and Rhapsodistas joined forces with other Filipino American community artists to do a Stop the Killings benefit concert in San Francisco, CA to help raise awareness about the political climate in the Philippines.[40] The Stop the Killings event utilized the power of hip hop to expose the numerous amount of killings done to innocent people in the Philippines.[41] Blue Scholars and Kiwi went on to do a subsequent "Stop the Killings" tour, with shows happening in several major cities across the nation.

Filipino hip hop
Peas’, making an appearance in Apl’s music video for "The Apl Song".[43]

The 2000 documentary film Beats, Rhymes and Resistance: Pilipinos and Hip Hop in Los Angeles (produced and directed by Lakandiwa de Leon, Dawn Mabalon, and Jonathan Ramos) chronicles the development of hip hop culture among Filipino Americans in Southern California during the 1990s.[44]

There were two FM stations in the Philippines that played all kinds of R&B, Hip hop & all types of Rap music. These are two defunct radio stations such as Power 108 FM & BLAZIN’ 105.9 FM. These were the radio stations that recognize the latest and the greatest Hip hop genre. This was better known as Project: Hip hop founded in 1993 by three high school friends namely DJ Caine, Satoshi & Quaizy Ileon. There are plans to revive the project either in another radio dial & if nothing else it can broadcast online. Filipino Rap Community (Allen Pineda Lindo)
Perhaps one of the most successful mainstream Filipino-American rappers is the Black Eyed Peas’s, who has released songs such as "The Apl Song" (Elephunk) and "Bebot" (Monkey Business), which not only contained Filipino (Tagalog) lyrics but also native Filipino musical elements. Pineda has also founded his own record label, Los Angeles-based Jeepney Music, to help discover and promote Filipino hip-hop talent from both the United States and the Philippines.

Music samples See also
• List of Filipino hip hop artists • "Hip-Hop and Critical Revolutionary Pedagogy: Blue Scholarship to Challenge ’The Miseducation of the Filipino’" by Michael Viola • "Filipino American Hip-Hop and Class Consciousness: Renewing the Spirit of Carlos Bulosan" by Michael Viola

Notes and references
[1] Music_of_the_Philippines_-_Filipino_Hip-Hop/id/ 5315895 [2] "Republic Act No. 9174". Republic of the Philippines. November 7, 2002. ra_9174_2002.html. Retrieved on 2006-07-02. [3] "History of Pinoy Rap". history/history.html. Retrieved on 2006-07-02.

Pinoy Production: Chad Hugo
One of the most successful Filipino-American producers is Virginia Beach’s Chad Hugo. One half of the popular music production duo The Neptunes, Hugo, with his production partner Pharrell, have laced chart topping hits for the likes of Jay-Z, Nelly, Gwen Stefani and Snoop Dogg among many others.[42] He has also collaborated with The Black Eyed


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Filipino hip hop

[4] "Phil Music Registry". [30] "Interview with West Coast Pioneer Nasty Nes". May 6, 2005. song_profile.php?song_id=11842. Retrieved on 2006-07-02. (Link appears to be broken as of last nastynews_181.htm. Retrieved on 2005-12-25. access, no relevant content is visible) [31] "Filipinos and Hip-Hop Culture". [5] "Bass Rhyme Posse Bio". June 12, 1997. filipinews.html. Retrieved on 2005-12-25. bio.html. Retrieved on 2006-07-02. [32] P-Kid (listed under the category B-boys/girls) is [6] "Bass Rhyme Posse Facts". the same person as Pikaso ("Mr. Sirate"), listed under the category Producers. body_brp_facts.html. Retrieved on 2006-07-02. The Dream Kontinues - Media Archive [33] [7] "Francis M.". Dream Kontinues - Media Archive [34] artists/francism.html. Retrieved on 2006-07-02. The Dream Kontinues - [35] [8] [36] Invisibl Skratch Piklz: Biography : Rolling Stone [9] [37] [10] Amazon Online Reader : All Music Guide to Hip- scratching.html Hop: The Definitive Guide to Rap and Hip-Hop Davey D’s Hip-Hop Corner: The New Source For [38] [11] Death Threat The Hip-Hop Generation [12] [39] D, Davey (2003-05-30). "Bay Area rap artists build [13] "Caroustar of the Month (July 2004) Andrew E.". bridges across racial lines". Mercury News. entertainment/columnists/davey_d/5961692.htm. andrewcaroustar.html. Retrieved on 2006-01-20.(offline as of last access, see Google cache version [14] Eh kasi bata at the Internet Movie Database [40] Stop the Killings MP3 Downloads - Stop the [15] "Introducing Aikee, The New Kid Rapper". Titik Killings Music Downloads - Stop the Killings Pilipino. 2005-08-04. Music Videos - Stop the Killings Pictures news/?aid=525. Retrieved on 2006-07-09. [16] [41] STOP THE KILLINGS Benefit Show [17][42] Chad Hugo Photos - Chad Hugo News - Chad k9-mobbstarr Hugo Information [18] "Local act going for Local hearts". SunStar News. [43] 2008-06-11. Locus : Music, Mayhem and the Silver Screen [44] dav/2005/01/16/life/ • "1st Annual Philippine Hip-Hop Music Awards" thavawenyoz.local.act.going.for.local.hearts.html. February 19, 2005. Retrieved [19] December 25, 2005 [20] • "Tales of the Turntable: Filipino American DJs of yehey/enter/20041002ent4.html the Bay Area" Hip Hop Slam February 25, 2002. [21] Retrieved December 24, 2005. [22] "Featured Promoter, Dancer, and all-around • [23] "Hakbang, Pilipinas!". Philippine Daily Inquirer. contributor to the Hip Hop Community" 2004-06-12. Retrieved December 25, 2005. lif_3-1.htm. • "Filipino DJs of the Bay Area-Why Are They So [24] Successful?" Rap Dot Com Magazine/July 1994 ?fx=event&event_id=72939 Reprinted and re-edited in October 1995 Retrieved [25] With Style: Filipino Americans and the Making of December 24, 2005. American Urban Culture by Victor Hugo Viesca"History of Pinoy Rap" Retrieved • [26] January 20, 2006. censr-17.pdf • "Writing Is My Life-by Mike Dream" Retrieved [27] December 25, 2005. styles.php [28] NOiSE [29] Joe Bataan Rap-O Clap-O (Brazilian 12") • Informative Filipino hip-hop website • Manila Times Article

External links

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Filipino hip hop

Categories: Filipino hip hop, Filipino music This page was last modified on 6 May 2009, at 07:53 (UTC). All text is available under the terms of the GNU Free Documentation License. (See Copyrights for details.) Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a U.S. registered 501(c)(3) taxdeductible nonprofit charity. Privacy policy About Wikipedia Disclaimers


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