wild style
wild style lacks a lot of the style of the people in it, but it never neutralizes their vitality .
japan' s wild, creative harajuku street style is dead. long live uniqlo — quartz
'' wild style'' lacks a lot of the style of the people in it, but it never neutralizes their vitality .
all photos, images, and artwork copyright © wild style technicians 2017. all rights reserved .
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“wild style” is playing at cinema rise in tokyo through april 9. for more information, visit urltoken .
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african style background with wild animals and abstract signs royalty free cliparts, vectors, and stock illustration. image 9473071 .
as for the bronx, ahearn says people wanted him to make “wild style 2” but new york “had changed so much by 1988. ”
trailer from the 1983 film. wild style was the first film to link graffiti, break dancing, djing and document the birth of hip - hop nation .
red sticker on front :
25th anniversary edition. includes previously unreleased tracks.' wild style - the best hip hop movie of all time!' - the souce magazine
cd2 tracks 1, 2, 3, 4, 5, 6 & 20 previously unreleased tracks 7 - 18 produced for wild style productions
much respect to all of the artists and companies that have paved the way... without you we would not exist... izze - wild style technicians
while other brands attempt to encompass every lifestyle under the sun we just stick to what we know, love, and live. the first two wild style technicians tee shirts were produced in 1997. the money earned from selling these two first tee shirts is the primary funding which started wild style technicians the company. since then the line has grown to include over 50 different tee shirt designs, headwear, fleece, denim, accessories and ladies apparel. wild style technicians is widely regarded as the leader when it comes to high impact hip hop / graffiti inspired tee shirts. wild style technicians now also collaborates with some of the best writers in the world on their artwork .
hip - hop loves wild style because wild style loves hip - hop. the film’s legendary status is largely attributable to two factors. when it came to chronicling the cultural revolution of graffiti, rapping, djing, and breakdancing, wild style did it first, and right. it’s rare for a music film to understand music on a profound level. it was even rarer in an era where breakdancing generally appeared in movies as a cheap stunt, a way to keep audiences distracted for a few minutes on the cheap .
here' s a story that must be told... tim westwood relives life in the bronx as he assesses the impact of the film wild style on hip - hop .
i guess it depends on what you go to the movies for, but for me wild style is a classic and a remarkable example of what the medium can do to an audience .
originally released in 1983, wild style is a cult movie and its ost is the first and best hip hop movie soundtrack. tracks from wild style have been sampled by artists such as the wiseguys, de la soul, a tribe called quest, beastie boys, beck, cyprus hill, dj shadow, nas and public enemy among others. this release is the 25th anniversary edition and contains a bonus disc with previously unreleased beats and instrumentals alongside a lesson - style cut - up by turtablist kev luckhurst .
rockers and rappers: busy bee and fab 5 freddy from' wild style' mingle with rockers in tokyo' s yoyogi park after overcoming initial concerns the leather - clad group were gang members. | charlie ahearn
the embrace that japan gave to “wild style” was so warm, one wonders if the mostly black and hispanic crew ever encountered in japan the kind of racial attitudes that originally slowed hip - hop’s growth in america .
'' wild style'' also has a slight love story involving raymond and rose lady bug (sandra pink fabara), a spray - paint muralist who brings raymond back to his senses when he takes his art too seriously .
mostly, however,'' wild style'' is a series of random encounters of graffiti artists, rappers and breakers, leading up to a giant rap - break concert in a lower east side band shell decorated by raymond .
independent film producer and distributor kaz kuzui had seen “wild style” at the new directors / new films festival in new york and recalls, with some bemusement, how he “wasn’t sure if japanese people would go for it or not. ”
find yourself nostalgic for the days of old school hip hop, when 50 cent was still in short trousers? then you can' t do better than charlie ahearn' s seminal wild style; released in 1982, it was the first movie to bring the underground hip hop revolution to a wider audience. legendary subway artist lee quinones stars as graffiti writer zorro; but wild style' s plot is really an excuse to see legends such as grandmaster flash and fab five freddy in action .
directed by charlie ahearn and featuring the likes of rock steady crew, cold crush brothers, grandmaster flash, fantastic freaks and more, “wild style” may have been an underground sensation in the u. s. , but in japan it went mainstream .
for 20 years, aoki’s magazine fruits was known for street - style photography documenting the wild creativity of the fashionable kids in and around harajuku, a tokyo neighborhood of about a square mile that has wielded an outsize influence on fashion in japan and beyond .
some company / crew history... wild style technicians was founded as an all elements crew in 1991. the crews original intent was to preserve, promote, and advance traditional wild style graffiti art. the first wild style technicians items were created primarily for crew members. however, we quickly and easily sold all of the overrun from our original crew production and immediately realized that there was a place in the market for clothing embellished with our style of artwork. in fact, we had felt that the companies creating graffiti inspired artwork at that time were somewhat missing the boat on a huge part of what graffiti is really about - which is letters. lettering is something for which we here at wild style technicians have a passion. hip hop culture is also something for which we have a passion. a passion which was lacking from the ownership of most other brands. we wanted to create something which was non - corporate where the artists were the ones making the money. not some one who' s only true interest in the culture and artform is to see how much it can be milked in order to enhance their own personal financial gain .
wild style’ s legacy most assuredly isn’t its plot or acting, both of which function primarily as a means to an end. cut out about 15 minutes of hastily improvised narrative scenes, and it’s fundamentally a brilliant hourlong documentary à la style wars, which was released the same year. in a sometimes ingratiatingly amateurish lead performance, graffiti legend lee quinones plays a mysterious, much - buzzed - about tagger who goes under the moniker “zoro” and is renowned for his audacious style and all - around fearlessness .
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these style tribes, affiliated by geography, eclecticism, and sensory overload, loosely hung together to form a striking new diy fashion .
in october 1983, the seminal independent movie “wild style” opened in shinjuku’s milanoza theater. the film is a document of new york city’s nascent hip - hop culture of breakdancing, rapping, deejaying and graffiti art, and it lit the fuse on a new type of youth culture that exploded across the world .
a group of young people clustered around a video monitor at the entrance to the museum of contemporary art' s survey of the art of the 1980s. playing was
wild style ,
the rawest, coolest movie ever made about rap and graffiti. charlie ahearn shot it in 1982, when the people watching at the mca had not yet been born .
the 1983'' new directors / new films'' series, sponsored by the film society of by the film society of lincoln center and the department of film of the museum of modern art, begins modestly and in good faith tonight with the showing of charlie ahearn' s'' wild style'' at the 57th street playhouse at 8: 30 .
lane and jenn stowe, who got married live on the fourth hour on friday, celebrated their wedding reception at buffalo wild wings. klg and hoda gush over the couple’s love for each other .
so part of wild style ’s tremendous value lies in how it captured for posterity the seemingly ephemeral art of graffiti and pre - album hip - hop. as a time capsule and a sociological document, it’s difficult to overstate its importance, but it’s also tremendous fun. the film anticipates the youtube era by stressing wonderful moments and stand - alone sequences over an overarching narrative .
wild style fundamentally respects hip - hop and hip - hop culture. that respect extends to illustrating the interconnectedness of hip - hop’s elements: wild style gets on a subconscious level the difficult - to - explain but profound symbiotic relationship between rapping, breakdancing, graffiti, and djing. writer - director - producer charles ahearn, who conceived the film with fred “fab 5 freddy” braithwaite, who also appears in a major supporting role as flashy impresario “phade, ” captures how all these indigenous american art forms sprang up out of the ugliness and devastation of the bronx in the late 1970s and 1980s. when new york and the rest of the united states turned their back on the bronx and left it to rot, a generation of brilliant street kids created poetry out of the ruins .
wild style fulfills early hip - hop fans’ giddy fantasies by having rival crews cold crush brothers and fantastic freaks battle each other a cappella at a playground, then goes even further by having the crews battle each other lyrically while playing basketball. the brothers’ regrettable lack of studio output renders their scene - stealing appearance here their most revisitable contribution to hip - hop, but it’s still a hell of a contribution .
to hear photographer shoichi aoki describe it, what killed tokyo’s famous harajuku style was basically what happens when a glut of factories set up shop at the head of a river that feeds vital waterways .
“but these girls had made a style that was completely theirs, ” aoki says, describing how they mixed japanese styles and motifs with western clothes, to create an image that wasn’t dictated by any brands. “this kind of adventurousness was unheard of, ” he recalled. “i had never seen yellow hair before. these completely new girls appeared and seemed to have the potential to make a new style that had never existed previously in japan. what’s more, this new style was coming from the street, and i had a feeling that this was the first time for this to happen in japanese fashion history. ”
wild style put the electricity and funky energy of what was bubbling up on new york streets into a sometimes - creaky narrative frame. thirty years later, that frame still feels a little silly, but the riveting music, graffiti, dancing, and djing inside it couldn’t feel more essential or relevant. the silly plot and corny acting can be laughed off, but the art that emerged out of the ugliness and hopelessness of the bronx endures .
a 10 - minute edit of charlie ahearn’s wild style plays at the entrance of the first room, “gender trouble. ” in the same section, jeff wall’s “picture for women” accurately portrays the intensity of changing gender roles. a woman gazes into a mirror, appearing wistfully alienated, as the photographer stands behind her, meeting her eyes in the mirror, as he too is photographed, as if he understands how women feel as constant objects of attention .
the slight narrative of'' wild style'' is about raymond (lee george quinones), a skinny, outwardly mild - mannered bronx teen - ager by day and, by night, the notorious'' zorro,'' a celebrated but unidentified spray - paint artist for whom every subway car is an empty canvas. raymond scorns his fellow graffiti artists who turn their talents to legitimate, commissioned murals on the walls of playgrounds and business establishments .
w. david marx, who traced the history of japanese menswear appropriating american style in his book ametora, says when he first traveled to tokyo in 1998, the kids aoki was capturing were all over harajuku. their style gained attention in wider japan through figures such as entertainer tomoe shinohara, and commercial magazines including cutie, zipper, and kera. but fruits had arguably been there first, and became an authoritative chronicle of the look .
that’s the kind of hip - hop that was celebrated in
wild style ,
a 1982 movie that prominently featured crazy legs and the rock steady crew. at the time of the movie’s filming, sharp distinctions weren’t yet drawn between b - boys and beatboxers, deejays and emcees, graffiti artists and ordinary urban hedonists. participants in the culture might have been one of these things, or many of them, or none. the circle was big, and it was inclusive .
actress kirin kiki wants an ending with no twists when life gave her lemons, film star kirin kiki didn' t make lemonade, but wild grass enzyme juice. it' s the only thing that has satisfied her taste buds since her advanced - stage cancer caused he ...
unfortunately for the film, mr. ahearn, who is an artist as well as a film maker, never discovers a cinematic rhythm that accurately reflects and then celebrates the rare energy and wit of the artists within the film. too often'' wild style'' has the effect of dampening the enthusiasm of its amateur actors or of not being able to keep up with their nonstop pace. it always seems to be trailing them, as if it were a little brother who can' t run as fast as the others .
wild style, written, produced and directed by charlie ahearn; photographed by clive david - son and john foster; edited by steve brown; music by chris stein; produced by fred braithwaite and jane dickson; presented by the film society of lincoln center and the department of film of the museum of modern art as part of the'' new directors / new films'' series. at the 57th street playhouse, between avenue of the americas and seventh avenue. running time: 85 minutes. this film has no rating .
he put his money where his instincts were, though, booking the film and then flying over 36 members of the cast and crew for a promotional tour of japan (an incredible number, considering even hollywood productions routinely fly over only a couple of people). seibu department stores had a “new york nights” event planned and kozui managed to convince them to put “wild style” at its center, which led to in - store promotions, concerts and club events in tokyo, osaka and kyoto, and major exposure in the national media .
“japan was a bit ahead of the curve, ” fred brathwaite, aka fab 5 freddy — who played one of the main characters in “wild style” — tells the japan times. “at that point, (rap) was barely even reaching other parts of (the u. s .), it was still primarily a new york thing. ” (many will remember fab 5 freddy as the longtime host of “yo! mtv raps” and the creator of one of the most - sampled records of all time, “change the beat. ” )
the style has continued to limp along, and gone through some revivals in recent years, largely because of celebrities who have adopted it, notably japanese pop star kyary pamyu pamyu. mohajer describes her as the unofficial brand ambassador of harajuku, specifically takeshita street and ura - harajuku. the set of her 2011 hit “ponponpon” was the handiwork of sebastian masuda, the designer behind ura - harajuku - based shop 6% dokidoki. the store became a cornerstone of unrelentingly cutesy kawaii style after it opened in 1995 .
anyone who watches “wild style” will be inclined to agree. this micro - budget project, shot on the streets (and elevated train tracks) of new york city in 1981 - 82, captures the birth of rap and hip - hop culture, and the energy on display is palpable — it’s that gleam in the eyes of someone who knows they’re riding a wave of fresh, vital energy. this was a point in time when the scene was still so underground that an uptown white liberal could ask with a straight face about “that rat music. ”
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is authentic - the story, style, characters, and most of the actors, are drawn from the community. it features a pantheon of old - school pioneers, including grandmaster flash, fab 5 freddy, busy bee, the cold crush brothers and more .
in the mid - 1990s, the less - commercial ura - harajuku section of the area— ura meaning “back”—blew up. from this base, the pioneering japanese streetwear labels undercover and a bathing ape launched their globally popular style, known locally as ura - harajuku - kei .
the impact was huge: tokyo hip - hop icon dj krush is but one of many who cite “wild style” as life - changing. brathwaite recalls going to a club in kyoto where “one of our djs gave a little demonstration on the turntables. and like anybody at this time, they’d never seen anything like it. most people would stand around looking at the dj like ‘how you doing that? ’ literally not more than a week later, we were back in the same club, and we walked in and we were like, ‘wait a minute, is somebody scratching? ’
way before diddy' s yacht and cristal champagne - even before dr dre and west coast gangster rap - hip hop was a micro youth culture played out in nyc basements. wild style takes you to the source of a street movement that conquered the world; it' s a panoply of freestyle mcs, breakdancing, and graffiti sprayed subway trains. all that is interspersed with a half - hearted fictional plot, in which red hot graffiti artist zorro struggles with his family' s disapproval, and encounters uptown journalist virginia (played by then queen of the east village, patti astor) .
masuda has gone on to design several buildings that embody the look that has come to represent harajuku, such as the kawaii monster cafe, which attracts tourists eager for a glimpse of the harajuku stereotype. kawaii seems to be the style that has most come to represent harajuku abroad .
from its opening scenes, “wild style” captures a scruffier nyc in a lost age before mayor rudy giuliani, with three - card monte scammers in times square, trains covered in elaborate graffiti, and the bronx looking like a war zone. sartorially, this was before the commodification of hip - hop: before xxl sizes, athletic wear and the global spread of mtv. it’s a surprise to see all the denizens of this nascent scene dressed as fairly typical late ’70s youths, randomly attired in levi’s, plaid shirts and even crewneck sweaters, with the emcees looking more like back - up singers for a funk outfit .
zoro, the city' s hottest and most elusive graffiti writer. the actual story of the movie concerns the tension between zoro' s passion for his art and his personal life, particularly his strained relationship with fellow artist rose. but this isn' t why one watches wild style - - this movie is * the * classic hip - hop flick, full of great subway shots, breakdancing, freestyle mcing and rare footage of one of the godfathers of hip - hop, grandmaster flash, pulling off an awesome scratch - mix set on a pair of ancient turntables. a must - see for anyone interested in hip - hop music and culture .
the acting is stilted - hardly a surprise seeing as ahearn used the scene' s genuine figures, instead of actors - and the story almost non - existent. but that isn' t the point, wild style is a cult classic - indisputably the most important hip hop movie, ever - because it documents so vividly the origins of a street movement that became the dominant force in mainstream pop culture. you' ll see grandmaster flash at the decks, busy bee on the mic, and breakdancers the rock steady crew on the floor. it' s a bona - fide piece of cultural history. if you love hip hop, this is unmissable .
but harajuku has changed. that frenetic signature image has been co - opted and commercialized by corporations, celebrities, and attention - seekers, and ultimately replaced by one more conservative and less unique among tokyo’s style - conscious kids. these days, they’re more likely to wear mass - market clothing from uniqlo and other international clothing chains .
quickly, a variety of style subcultures emerged—each with its own rules and hangouts. these included kawaii, meaning “cute”; wamono, which mixed elements of western and traditional japanese dress; loligoth, an amalgam of lolita and gothic; futuristic cyberpunk; hyper - colorful decora; and others. plenty of dressed - up kids also defied definition .
in the 1990s, the area was the epicenter of a new look that came to symbolize the uninhibited essence of japan’s fashion - forward youth culture. an eclectic, unruly overload of influences, sometimes colorful as a pinwheel, exaggerated and accessorized to cartoonish effect, harajuku style has come to represent japanese fashion—and indeed japan—to much of the rest of the globe .
there are few better ways to discover africa' s spectacular wildlife than with travel company abercrombie & kent, whose founder geoffrey kent spearheaded the way for responsible, luxury safaris. its africa by private jet expedition takes you on an expert - led, whirlwind tour of the continent' s finest natural resources, ensuring you get to each destination in upmost comfort and style .
for hip - hop fans, watching the groundbreaking film wild style in 2013, 30 years after its original release, is a little like listening to early james brown or george clinton albums. déjà vu is bound to ensue, since the culture has lovingly referenced, spoofed, or recycled nearly every line and frame. the film’s famous scenes, like the one of forgotten hip - hop duo double trouble spitting a tag - team a cappella rap while sitting on a front stoop, have reappeared, in altered form, in commercials, music videos, movies, and albums. wonderfully slangy, evocative throwaway lines like “i’m just gonna munch up a little bit” (a funky hip - hop way to say “i’m getting a snack”) have been immortalized through their sampling on albums like mf doom’s mm. . food ?
the exact reasons for the decline of harajuku’s unique style aren’t entirely clear. aoki describes the 1998 closure of his subjects’ sunday gathering spot, the hokosha tengoku “pedestrian paradise, ” as a punch to the chest. after that, the area lost some of its magnetism, and international fashion chains had started moving in. “this small fountainhead was overwhelmed with callous businesses, ” he says .
if you think you are a true hip hop fan and when i talk about wild style and you are asking me
what ?
, then something must be wrong... wild style is the first and true hip hop documentary / film about a culture that remained one of the strongest of the past few decades. never has there been an artform of music that was just basically made of other music styles, but has managed to grow and evolve on its own. if you want to understand the basic elements of hip hop (rappin', djin', breakdancin' & grafitti) then don' t look any further, here' s what you need. as one of the top titles wanted on my
please - release - it - on - dvd - list
, this movie is not a movie in its real form. because it was pretty much lowbudget, it has a feel of documentary, but it certainly has a story. not very much, but the knowledge that almost everyone of the cast was / is someone in the hip hop community 1982, makes this title very interesting to see what they contribute to this movie, and hip hop in general. you' ve probably read the plot outlines in other reviews, so i won' t tell you anything you' ve already read in those reviews. all i can say is, if you wanna know what the true meaning is of hip hop, instead of the bling - bling type o' hip hop which is totally (well, almost totally) commercialised, see if you can get a copy of this movie and
take a trip down memory lane
, like my man nas said in his 1994 dj premier produced cut
memory lane (sitting in da park )
, another hip hop gem. . recommended! !
in 1997, at the same time that streetwear was gaining mass popularity, another look was spreading around ura - harajuku and omotesandō. what prompted aoki to start the magazine were three girls he spotted, who to him represented something new. for years, tokyo’s stylish art and fashion school kids had opted for the cerebral, mostly black look of comme des garçons and yamamoto. vivienne westwood and london street style also exerted their influence .
that’s not to say that tokyo, and harajuku specifically, has lost its sense of style. creative fashion is still more part of the culture in japan than, say, in the us, and there are plenty of well - dressed people on the streets of harajuku to photograph. but fewer of them are dressing in an artistic way that pushes boundaries, and fewer still in the very specific mode fruits started capturing 20 years ago .
the all - encompassing 20 - night itinerary takes off in madrid, with the first stop in ethiopia. from here you will move on to spotting the big five in tanzania' s serengeti national park, taking in spectacular views from the top of cape town' s table mountain and exploring zimbabwe' s famous victoria falls by helicopter. before leaving for the final destination, morocco, spend a night stargazing in the sahara desert and be waved off in style with a lavish berber finale feast .
they weren’t the originators of the form. but they were the first to bring mainstream attention and respect to b - boy culture. from 1977 until the group’s initial hiatus a decade later, rock steady was the world’s most famous breaking crew — popularizers of acrobatic moves that are still used by choreographers in contemporary routines. much of the public image of breaking comes directly from rock steady: the power moves and head - spins, wild windmills, sudden drops and cross - arm stances. the great new york hip - hop emcees of the mid - ’80s mimicked the swagger of rock steady. so influential was the bronx - born group that it spun off franchises in cities as far away as tokyo .
this year’s lineup is similarly inspired. more than 30 rappers, record spinners and breakers will appear at the event. epmd, whose
strictly business
tugged ’80s hip - hop toward hard - hitting, no - nonsense minimalism, will perform. keith murray, whose witty style can be seen as a forerunner of jay - z’s, will also appear. adding garden state color is wise intelligent, one of the quick - spitting rhymers from trenton’s poor righteous teachers; pacewon, one of the voices of newark’s outsidaz, should draw a brick city crowd to the park. dj evil dee of the beatminerz will take his place behind the turntables, as will the roots’ proud - maned drummer questlove. rahzel, the roots’ original beatboxer and a longtime affiliate of the rock steady crew, will be there, too; the incendiary jane grae, another roots affiliate, will add a female voice to a male - dominated afternoon .
viewers of any age must check all the usual expectations for a retrospective exhibition at the door .
this will have been
makes no claims to being chronological or inclusive, nor to fitting' 80s art into any of its familiar categories. there' s not a painting byjean - michel basquiatin sight, nor wall text trumpeting
appropriation art
here or
neo - expressionist painting
there. this is exciting. would that the results were consistently so .
the exhibition, organized by helen molesworth, chief curator of the institute of contemporary art in boston, begins promisingly. or rather, it begins with an installation of works that speak forcefully about broken promises. front and center stands krzystof wodiczko' s
homeless vehicle ,
a shopping - cart - cum - missile designed in collaboration with its intended users, meant to provide storage space for redeemable bottles and cans, a sleeping chamber, a wash basin and a conspicuous message about the utter unacceptability of human beings living on the street. nearby, adrian piper' s
calling cards
rages politely at racist and sexist remarks, handouts given by the artist — a light - skinned black woman — to offending commentators. everywhere scurry the life - size rats christy rupp once printed up as posters, and wheat - pasted in long lines across lower manhattan. it isn' t a pretty picture now, and it wasn' t then .
next comes a suite of rooms that bear witness to endings — the death of painting, the scourge of aids .
the end is near
trumpets a wall text. the art world did not go quietly in either case. painters like gerhard richter, mary heilman and peter halley fought the good fight, armed not just with brushes and acrylic but irony, punk edge and social consciousness. the audacity of hanging this work within spitting distance of general idea' s
aids wallpaper
pays off, animating the tensions of a decade that swung precipitously between radical and conservative, freewheeling and critical .
another cluster, under the heading
desire & longing ,
induces shivers by placing jeff koons' shiny stainless steel
rabbit ,
sign and symptom of a lust for fancy consumer goods, in front of some of the most aching, honest art by men about their attraction to other men' s bodies. david wojnarowicz, felix gonzalez - torres and robert mapplethorpe, who made those haunting works, all died of aids. koons made a fortune from sales, and contributed to the wealth of countless collectors and dealers. and this all happened in downtown manhattan, at more or less the same time .
potent moments like these, planted like ticking time bombs throughout the museum, would have added up to an explosive exhibition. instead, the second half of
this will have been
disappoints, despite terrific work by familiar names like rosemarie trockel, haim steinbach, robert gober, jimmie durham and carrie mae weems, as well as the less familiar deborah bright, lorraine o' grady and jac leirner. the curatorial moxie disappears. themes of
democracy
and
gender trouble
read like so much text on a wall. art works that ought to have gained something through proximity lose something instead .
displays of powerful, witty activist campaigns by the guerilla girls, gran fury and group material — fighting sexism in the art world, racism and homophobia in the general populace and aids biases in the white house — look lost and flimsy, stuck near an emergency exit or over a doorway. in real life these posters shouted proud from the sides of city buses. jenny holzer' s
10 inflammatory essays ,
unsigned excerpts from incendiary political and aesthetic manifestoes, simply photocopied on colored paper, usually plasters an entire wall. here it barely registers on the narrow side of a partition .
eleased in 1983, ahearn' s cult classic has improved considerably with age. the cast is made up of non - actors, not simply non - professional - they really cannot act at all. the plot of a graffiti artist trying to win back his girlfriend barely registers on film - but it' s the background that takes centre stage .
nothing else comes close to capturing the atmosphere of the early days of hip - hop and spraycan art, of the burned - out and derelict bronx; the only colour comes from the impressive artwork as b - boys and fly girls dream of making
cash money
while scratching and rapping in kitchens, dingy bars and, in an impressive diy turn from double trouble, on stoops. this isn' t old skool, this is pre - school .
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crazy legs — rock steady’s best - known member and inventor of the gravity - defying continuous back spin — isn’t from overseas. he’s a b - boy from inwood in manhattan. in the early ’80s, he danced tirelessly all over the five boroughs, entering competitions and popularizing breaking wherever he went .
in 1982, he was named the president of the rock steady crew. he still has that position. and on sunday, he will bring the latest team of dancers to call themselves rock steady to newark. the event, which is part of the sixth annual lincoln park music festival, is the 34th anniversary of the rock steady crew. but really, it’s more than that: it’s a celebration of hip - hop’s elements. no matter how glitzy it can look in its mtv representations, hip - hop is still built on kids doing spins in city parks, egged on by emcees, dancing to deejays in search of the perfect break .
the rock steady anniversary concerts turn lincoln park into a mini - version of rock the bells (the annual governors island hip - hop event that gathers voices from the subculture’s first years of national prominence). krs - one, ice - t, marley marl, naughty by nature, dana dane and many other emcees whose names are familiar to hip - hop fans have taken to the stage at the newark park in the midst of a rapidly redeveloping neighborhood .
as for crazy legs himself, the 44 - year - old breaker no longer enters dance battles; age and injury have diminished his legendary flexibility. but he remains an agile and charismatic performer, and a genial ambassador of b - boy culture. he takes his responsibilities as the president of the world - famous crew seriously, educating young breakers and assembling an international team of dancers .
and once a year he throws a party for his fans, and for his form. you’re invited. and best of all, it’s free .
rock steady crew 34th anniversary who: rock steady crew, crazy legs, epmd, keith murray, rahzel, dj js - 1, wise intelligent, neek the exotic, large professor, black rob, cold crush brothers, questlove, q - unique, slaine, jean grae, grand daddy i. u. , pacewon and mr. green, others. where: lincoln park music festival, broad street at clinton avenue, newark when: sunday, noon to 8 p. m. how much: free; visit urltoken
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the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
movies and tv shows are certified fresh with a steady tomatometer of 75% or higher after a set amount of reviews (80 for wide - release movies, 40 for limited - release movies, 20 for tv shows), including 5 reviews from top critics .
this docudrama celebrates the colorful lives of teens who live in the south bronx. there they are seen break dancing, creating graffiti art, and listening to raucous rap. the slim story centers on zoro, who likes to spray - paint subway cars. he gets a break when he is hired to decorate a platform for an upcoming rap concert. ~ sandra brennan, rovi
charlie ahearn' s groundbreaking film about hip - hop, graffiti, break dancing, and rap in eighties new york celebrates its 25th anniversary with a new 35 - mm. print .
hip - hop rolls on tractor treads now, unafraid to colonize those who hesitate, but in 1982 it was small, self - selecting, and as specific to new york as the world trade center .
it' s a fascinating time capsule, worth examining for anyone interested in the cultural roots of hip hop .
the pacing is slow - - inexcusable in a film about music - - except when hip - hop takes over, and ahearn wisely gives plenty of screen time to the likes of busy bee, rock steady crew, and fab five freddy .
as a time capsule and a sociological document, it' s difficult to overstate its importance, but it' s also tremendous fun .
it' s great to see again this bolt of ghetto joy, a kind of updated west side story, that shows hip - hop as a living, breathing expression of cultural resistance rather than a crunky, cheerless set of cruddy grunts and boasts from which to make money .
nothing else comes close to capturing the atmosphere of the early days of hip - hop and spraycan art, of the burned - out and derelict bronx .
this unpolished but authentic film, a drama with the honesty of a documentary, shows hip - hop pure and unvarnished .
when helen molesworth, chief curator at the institute of contemporary art, examined the contemporary art world, she found that the 1980s remained vastly overlooked .
a stainless steel sculpture titled “rabbit” by jeff koons is on display in the “desire and longing” section of the exhibit. photo courtesy marianne boesky gallery and donald moffett
“why is our memory of the ‘80s kind of a cringe of embarrassment? ” molesworth said .
pop culture depicts the ‘80s as a collection of fleeting fads, bad pop, hair perms, the rubik’s cube, hair metal and neon everything. but at a closer glance, the ‘80s were a transformative, tumultuous decade. women began carving out a more solid place next to men not only in the workplace, but in the world of art as well. mass media publicized the private sphere and strengthened the desire for social justice and democracy that had emerged in the heady 1970s social movements. the aids crisis at the end of the decade ignited feelings of loss and longing .
molesworth sought to capture all this in the unprecedented four - part 1980s exhibition that opens at the ica today. the exhibit itself — broken down as “gender trouble, ” “the end is near, ” “democracy” and “desire and longing, ” — is unexpectedly relevant. and though molesworth nailed it, she said the exhibit is merely a first shot at what an ‘80s show might be .
“this is the ‘80s, ” she said. “it’s my ‘80s. it’s a lot of people’s ‘80s. ”
the exhibition covers 1979 through 1992 and includes work by david hammons, hans haacke, cady noland and guerrilla girls. this will have been: art, love and politics in the 1980s captures the very recent history and perhaps the last especially memorable decade perfectly because not only is it full of tangible studio art, but it also contains videos and sound clips. molesworth said that a 1980s art exhibit would fail to capture the first ever truly mediated decade if it didn’t include these elements .
in the same section, the american cowboy, a classic portrayal of man, is ridiculed and shows the 1980s rejection of old definitions of masculinity .
“the end is near” grasps the apocalyptic tone of the ‘80s. modernism was at the end of its road. traditional conservatism was dead to the art world despite president ronald reagan’s threat to bring it back. by then, concepts from the 1960s were hackneyed, too. in a five - minute video, christian marclay plays jimi hendrix’s version of the “star spangled banner” from woodstock on a turntable, simplifying and mocking the long, narcissistic guitar solos. punk’s brevity at the time sought to do the same .
the perfectly vain jeff koons “rabbit” sculpture stands in the center of the “desire and longing” part of the show. viewers themselves are reflected off the stainless steel, and they get to have their own personal moment of self - desire — a concept the ‘80s grappled with. aids wallpaper is featured on another wall .
“it’s doing what aids was — a constant backdrop against which everything happened, ” molesworth said .
molesworth’s exhibition is a bold and well - composed, setting a high standard for period exhibits to come. the first of its kind, it is an eye - opening depiction of the 1980s art world as progressive, inspiring and heart - wrenching .
this will have been: art, love & politics in the 1980s is on display at the ica from thursday, nov. 15 to march 3 .
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zoro, the city' s hottest and most elusive graffiti writer. the actual story of the movie concerns the tension between zoro' s passion for his art and his personal life, particularly his... see full summary »
hotel transylvania 3: summer vacation stars plan their dream summer getaways to some memorable movie settings .
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a documentary that exposes the rich growing subculture of hip - hop that was developing in new york city in the late' 70s and early' 80s, specifically focusing on graffiti art and breakdancing .
an aspiring dj, from the south bronx, and his best friend, a promoter, try to get into show business by exposing people to hip - hop music and culture .
a feature - length documentary film about hip - hop djing, otherwise known as turntablism. from the south bronx in the 1970s to san francisco now, the world' s best scratchers, beat - diggers, ... see full summary »
a study in the world of hip - hop, done mostly with interviews, in order to see why it is as popular as it is today and what the future holds .
tells the story of contemporary graffiti, tracing its roots in ancient rock paintings through picasso to its place in hip - hop culture in 1970' s new york city .
a struggling young jazz dancer meets up with two break - dancers. together they become the sensation of the street crowds .
new york beat cronies slumbering through harry smith, burroughs and ginsberg, university columbia, colombia, or the crazy is just what we need, not to
explain
tears in the fabric but to... see full summary »
a developer tries to bulldoze a community recreation center. the local breakdancers try to stop it .
this film follows an antisocial working - class husband and father struggling to find work in the midwest. as the film progresses, it seems that he has little actual interest in supporting... see full summary »
a documentary on the evolution of mc battles from verbal one - upmanship to street warfare .
from the boogie down bronx and beyond, the history of the b - boy .
and the furious five, the cold crush brothers, and the treacherous three performed at the amphitheater in the last scenes. because the producers were not able to compensate the groups for their appearances, their performances were cut from the final film. (the treacherous three are shown at the end of the concert talking to the crowd .) the performances were restored for the 2007 dvd reissue on rhino / atlantic records .
at 6: 18 hector tells raymond' zoro' to take off his do - rag. then ray' s hair pops back and forth between being flat from the do - rag to a picked out afro during their conversation .
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accessibility entrance to the venue is via a flat slightly sloped laneway coming off the hindley street footpath (wheelchair accessible) with the venue door being over 1m wide. entrance is immediately into the beer garden which is level ground, however the bar and dancefloor (inside) are only acessible via a small staircase with central rail (non wheelchair accessible). * please get in touch if you have any further questions re accessibility *
acknowledgement we would like to acknowledge that the land we will meet on is the traditional lands for the kaurna people and that we respect their spiritual relationship with their country. we also acknowledge the kaurna people as the traditional custodians of the adelaide region and that their cultural and heritage beliefs are still as important to the living kaurna people today .
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get up 2 come down by big k. r. i. t. (2017 )
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@ anthole - good question and good example. songs recorded specifically for the soundtrack (that might also appear as incidental or background music in the film) should be listed as originating on the soundtrack album. material appearing on a soundtrack album that originates essentially as dialogue in the film (such as stoop rap) should be listed as a movie scene. there is likely to be a period of tidying up entries such as this over the coming weeks, but please report any you encounter using the red buttons and we' ll get to them as soon as we can. thanks.
wild style is an american 1983 hip hop film produced by charlie ahearn . released theatrically in september 1982 by first run features and later re-released for home video by rhino home video , it is regarded as the first hip hop motion picture . the film featured seminal figures within the given period , such as fab five freddy , lee quiñones , lady pink , the rock steady crew , the cold crush brothers , queen lisa lee of zulu nation , grandmaster flash and zephyr . the protagonist " zoro " is played by new york graffiti artist " lee " george quiñones . 2012 marked the 30th anniversary of the film . producers proposed a 2013 blu-ray edition that would include additional interviews and features . 
wild style is an american 1983 hip hop film produced by charlie ahearn. released theatrically in september 1982 by first run features and later re-released for home video by rhino home video, it is regarded as the first hip hop motion picture. the film featured seminal figures within the given period, such as fab five freddy, lee quiñones, lady pink, the rock steady crew, the cold crush brothers, queen lisa lee of zulu nation, grandmaster flash and zephyr. the protagonist " zoro " is played by new york graffiti artist " lee " george quiñones. 2012 marked the 30th anniversary of the film. producers proposed a 2013 blu-ray edition that would include additional interviews and features.
wild style is an american 1983 hip hop film produced by charlie ahearn. released theatrically in september 1982 by first run features and later re-released for home video by rhino home video, it is regarded as the first hip hop motion picture. the film featured seminal figures within the given period, such as fab five freddy, lee quiñones, lady pink, the rock steady crew, the cold crush brothers, queen lisa lee of zulu nation, grandmaster flash and zephyr. the protagonist " zoro " is played by new york graffiti artist " lee " george quiñones. 2012 marked the 30th anniversary of the film. producers proposed a 2013 blu-ray edition that would include additional interviews and features.