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Surviving L.A.

Since PnB Rock was murdered at a restaurant in South Los Angeles, there has been a lot of discussion about why rappers are being targeted in the city. In a Los Angeles Times feature, August Brown and Kenan Draughorne gather several opinions on a bleak trend of shootings that has claimed the lives of Pop Smoke, Nipsey Hussle, Drakeo the Ruler and many others. "Amid wider debates about rising violent crime rates in L.A. and nationwide, many artists are taking new measures to stay safe," they write, adding that professional security details — not just "buddyguards" — keeping current whereabouts off social media, and resisting an urge to flaunt expensive jewelry may serve as protection. Still, the participants can't help but admit that these are human beings, not walking ATMs, and the violence too many encounter is senseless and unjustifiable. “We have such deep inequality in L.A., coupled with joblessness, the pandemic, social unrest and more people carrying guns. The response is usually finding individual things to do: Don’t wear jewelry, don’t post on socials," says UC Irvine professor Charis E. Kubrin. "That’s important, but we’re not going to get rid of this problem without attacking root causes.”

Since PnB Rock was murdered at a restaurant in South Los Angeles, there has been a lot of discussion about why rappers are being targeted in the city. In a Los Angeles Times feature, August Brown and Kenan Draughorne gather several opinions on a bleak trend of shootings that has claimed the lives of Pop Smoke, Nipsey Hussle, Drakeo the Ruler, and many others. “Amid wider debates about rising violent crime rates in L.A. and nationwide, many artists are taking new measures to stay safe,” they write, adding that professional security details — not just “buddyguards” — keeping current whereabouts off social media, and resisting an urge to flaunt expensive jewelry may serve as protection. Still, the participants can’t help but admit that these are human beings, not walking ATMs, and the violence they encounter is senseless and unjustifiable. “We have such deep inequality in L.A., coupled with joblessness, the pandemic, social unrest and more people carrying guns. The response is usually finding individual things to do: Don’t wear jewelry, don’t post on socials,” says UC Irvine professor Charis E. Kubrin. “That’s important, but we’re not going to get rid of this problem without attacking root causes.”

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BLU Magazine

Freedom Archives, an online database focused on progressive and radical historical movements, has documentation on BLU magazine, which was published between 1998 and 2001. While most press at the time limited their coverage of politically minded rap to dead prez and Black Star, the New York magazine threaded between overlapping scenes like spoken word and Afro-Cuban sounds, featured interviews with activists like Geronimo Ji Jaga Pratt and Yuri Kochiyama, and dedicated issues to the Puerto Rico independence movement and women’s right. Each issue includes a CD from major names like Tony Touch as well as lesser-known acts like Rico Pabon. All together, BLU’s 14 issues depict a complex hip-hop movement that’s often omitted from histories of the period.

Tame One and “Haagen-Dazs”

When Tame One passed away on November 5, obituaries summarily focused on his reputation as a graffiti writer, his longtime participation in 90s duo the Artifacts, his subsequent wanderings in New York’s rap underground and participation in collectives like the Weathermen. Then there’s “Haagen-Dazs,” a track he and Artifacts partner El Da Sensei recorded with Dutch production team The Boulevard Connection for the latter’s highly-regarded Fondle ‘Em 12-inch EP. With its dusty piano loop and sharp turntable cuts by DJ Kaos, the 1998 song captures the essence of an era. El’s “fact not fiction” diction serves as a setup for Tame One’s unconventional flow. “I’m too bugged out to thug out,” he begins, stop-starting between boasts, homage to cannabis, and “talking to God, I feel odd.” True, Tame One was an unusually rare bird.

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