OSGEMEOS: Segredos - Ep. 04 - Segredos: A busca de um estilo

All the safety protocols were applied and the guests and crew were tested. Nothing against other styles, but in other styles, anyone is a DJ. Not here, in Hip Hop you have to be good.

My school, DJ Hum, Ninja, Jack, Kleber and Luciano. . .

The guys there, doing it for real! You have to be good to be a part of. <i>Formed by different generations of artists who came from the street.

</i> <i>And nothing builds itself. </i> <i>And this union is what fortifies and keeps Hip Hop alive. </i> SECRETS IN THE SEARCH OF A STYLE Our need to exchange information was huge.

So you have a reference from a skateboard magazine that came out with graffiti from Venice, let me see. And seeing your work, "Damn, this guy has his own style. " How did he come up with this character?

I know how to make gradients, I know how to make faces, okay. Now you know the technique. Now what?

What's inside of you? Style is your path, it's your personal adventure. And in this style adventure, the path is different.

{\an8}Only we know about our jorney {\an8}the photos of the graffitis, they are not {\an8}you can see that they are not manipulated, {\an8}but at the same time people look in a way {\an8}which is very artificial {\an8}they don't imagine what's going on, you know? {\an8}The difficulties, what you were feeling, {\an8}what you were going through, what happened next {\an8}or before for you to do that. When I started I was a new kid, coming up in the neighborhood and painting like hell The crowd, instead of welcoming me repelled me And then they said: "He copies," Obviously, in the beginning, you draw references from what's next to you.

It was really hard, so for me, it was this thing "I need to create a style, I need to be really good. " What I put on the wall is something that doesn't just have to do with me cross other people, you know? This is the potential of our arts And so, with several styling features So I started to have a color pallete so, for me, orange is ancestry, blue is spirituality.

And then I bring all this work but with the purpose of meeting I was also lost and in this process I rediscovered myself. And even talking about Speto, people said when I started that we have to draw a lot And they've always mentioned Speto because he had several sheets, he drew a lot One of the first times I went to his house, I arrived and said "Come on, let's draw. " He gave me a 100-sheet bond paper I said, "All this?

", and he said: "This is just to warm up. " Do you remember this? And I looked at his desk and there was a pile of paper, and I said, "He's serious, he's not kidding.

" Once I was painting, but I no longer liked the letters I was doing. So I said to Gu, "I"m froze, I can't draw. .

. " He said, "Bro, take everything you like. .

. Do you like architecture? Put it in a blender.

Do you like Wild Style? Put it in a blender. " "Mix it and make a new thing" That's what Speto told us when we were kids.

What did you say when we asked, "How do I get a style? " You said "Take everything you like, Mickey's hand, Cebolinha's eye. take whatever you like, mix in the blender and drink it.

" You said that. Then we stood there thinking. I went looking for an internship that I couldn't get in a cartoon studio The guy said, "Look, you have potential but we can't give you the internship" "But I'll give you tips for you to develop your own style.

" "You have to take the things you like, keep drawing. understand what you like and pass it to your designs. " Then what a young guy do?

He maximizes this I did that a million times, "Oh, I have to find my style. " And I think my style is a lot of that. You'll recognize a piece here, another one there.

At the time we worked, we worked in a body shop, we work in restaurants, rental stores, at the farmer's market We work in a bank, the last one was a bank. When I met you. And we would say: "Speto, how do you make a living?

You don't do anything else, expend all day drawing. " That's when he started taking us, "You want to make a living from art, so start doing this and that. .

. " We took a lot of your characters to paint on the street. Because we were more focused on making letters.

In fact, the first characters we painted on the street were yours. Few people know this, that you gave us the drawing and we went to the street to paint it. And vice versa, we wrote letters for you, do you remember?

Yes, I put your drawing on the wall And our art is the blender of life, you put whatever you want and make the vitamin then you drink or not. There is also a milestone, very important in our time, especially in the 90s, which was Barry's visit to São Paulo, Twist, Barry Mcgee I think we learned a lot from him. It was the first time a North American graffiti artists came there was a dialogue, right, he looked for the graffiti scene, he wanted to paint on the street, and his work was very impactful, very solid, it was black and white with two colors, the guy had work with such volume.

I think he influenced all of us a lot at the time. Of all of us, I was the only one who had a college career. The only who went to college.

I had some conflicts, because it was an art universe but it was a totally different universe I saw this distance and this discrimination in there and at the same time, I was being invited to give lectures in museums, in cultural institutions, all of us, right? In museums, cultural centers in other universities. And that caused a lot of violence in my head because What's right?

The opinion of these people who say that all this is worthless or the opinion of this other guys who are inviting me to talk to other people about it? My position amidst of it all was wanting to find a middle ground that it could be accepted as art in the academic environment and prove to these guys that what we were doing was also art and at the same time also, demystify between us this other side of art that we didn't know until then. When I saw that thing starting in the Bronx that show the guys dancing I'm used to capoeira, Salvador, frevo in Recife Even the first times I went to Recife I told the Bboys from there to use frevo steps in their footwork.

Because dances have this, for example, making a split in ballet, is called grand écart We call it "spaghetti", because spaghetti is stretched, right? So we call it "spaghetti" We call it twirl, in ballet it's deboulé So there are several steps that are repeated in dances with different names, but they are the same moves. And capoeira, the guy talks a lot about capoeira, but the frevo it's influence by Russian folk dance And Bboy also a lot of Russian dance So I think bboy's talked a lot about "Let's be original," but I think the most original of Bboy is the mix It adds everything, right?

He adds everything man, he puts capoeira together with samba, with frevo. . .

It's magic, right, man? It's like making rice There's the right time to put the oil, the garlic, the rice and then the water, got it? it's a magic, an alchemy.

No, no. Ouch! That's too underground, bro!

It's not! ? And how is your process of creating a beat?

I like the traditional way, from the beginning of Hip Hop, I like a lot to sample. But I take something from the sample and make another song. I get an excerpt, a piano stab.

That's what Hip Hop is all about, that's how the Grand Master Flash started there with Good Times, got it? Good Times! So I think this can't be missed Sometimes I pick up an instrumental and a phrase comes to mind.

And that sentence sometimes go to the last part of the lyric the first part comes later. But I have to write that sentence, so it stays in my mind <i>Everyone, defied danger! </i> <i>DJ Hum came and spin on the turntables</i> <i>All in the name of culture, having fun</i> I often wrote a whole lyric without an instrumental, because I had the idea.

Sometimes a chorus came to mind <i>Attitude, freedom, information! </i> <i>Unfortunately it's been a while as I said at the time of São Bento</i> So there's no rule, really. I like to feel the inspiration It's a lot of feeling, sometimes I hear an instrumental that kills me then I listen, the chemistry happened, I say, "I want to write in this" <i>I took a path, I dedicate myself and I don't even know how to thank this bond</i> <i>mind, soul and heart</i> Then I do the music on top of the instrumental, sometimes I do the instrumental on top of poetry.

So it's "Bivolt" even to write You have your creative process, right? - You need your time. .

. - Yes, I've always had. .

. I tried to change and I couldn't, it's like this until today - What? - I am alone He can do it.

We used to fight with him. "Dude, where are those songs? ", "No, soon you'll see.

" <i>But I was a visionary, I plotted the itinerary,</i> <i>for me there was no time off, anytime it was time</i> Do you write when you're calmer, or when you're more agitated? It does not have When there's a crisis, the stuff flows! Crisis!

- The music is you, right? - Crisis! When you're in a crisis, the stuff flows, bro.

Because from "Surviving in Hell" to "Nothing like a day. . .

", - The difficulties were greater. - It was an era of crisis. Crisis!

Because "Surviving" brought money but it brought a fuckload of problems. There always is, right? Do you also write when are you in crisis?

Not today. Today the crisis and its monsters are all under control. I dominated all the monsters.

Black belt! You have to let him come, you have to learn to master Black belt and crazy as fuck! I learned to master monsters, however But it's annoying to see that several issues we've been addressing for 30 years are still alive today.

<i>For every 4 people killed by the police, 3 are black</i> The police are still killing people in the hood. Violence continues and affect us in the same way. We can't make music just to dance and have fun, if the problems remain the same, you know?

I want to make commercial music, to get the rotation, to earn money but man, I can't make music if it's not to say what's important to me. Because what's important to me, I'm sure it's important to thousands of people who have a similar background to mine. So I use my music a lot as a tool.

I really like this idea of getting together, right? We understand that there are several places, the city is huge But it was missing, going back a little to this idea of projects that I bring Look at the city but not seeing yourself in it, you know? From that, the idea of the Empena came to me I looked at the city and saw these huge panels And it lacked representation.

Of course, we have specific artists who are on these panels, which I have a lot of affection but it lacked a crowd from the fringes of the city. I looked and didn't see anyone that I had a connection. My project arrives after 15 years of work With the opportunity to occupy such majestic space that's downtown.

The art brings a black woman, rooted in the land and in her hands a necklace of blue beads, which represents a necklace that was found in an archaeological excavation near the Cemitério dos Aflitos But I don't consider myself a producer. I have talent; I know how to do it but what comes first is the DJing, it's being a DJ. And graffiti is a very cool thing because it allows us, as instruments of the city, to discover the city, right?

Many times we're painting together, we had to ask permission from whoever was living there, paint together with her, or "What do you want me to paint? ", "Paints that I love Maria. .

" Anyway, this happens a lot when we are on the street painting. Graffiti takes us to the trash and the luxury One day we're having dinner with Nike's CEO, the next day we're sharing a store brand soda that the beggar bought because we are painting his "room". MAybe we were the only people that day who treated the guy as a human being.

Because, I live graffiti, I'm graffiti And graffiti is the street If you don't feed, if you don't respect what feeds you How are you going to want respect? On the street, you have to hug, on the street, you have to love because if you don't do it, we are fucked because we're too empty. If you had to tell a boy or girl who is watching this "I want to be part of the Hip Hop culture.

" First thing, you have to be sure what you want. And you have to know that it has to be part of your whole life. Yeah, I think this is the most interesting point, right.

What satisfies you? And when we are in this period of self-affirmation, you have this question "Damn, but isn't it nice for you to do something else? " I said, "But that's not what satisfies me.

" And it took me, I don't know, 15 years with this insistence on doing the traditional style and that still today I have a lot of pleasure in doing and I feel good so I can say, "Well, now I'm going to keep the classic, but I'm going to create something loose. " I think we are all, in a way, examples for many of these kids who don't have the patience And that they need to hear what we're talking about, to understand that it wasn't like that, in a snap You try and try, and you can't Then I realized that I was focused on technique and forgot about the music and then I relaxed and said: "I won't make it, I'll just enjoy my records. " Then it started to come up.

So the process was slow. If he wants to start now he has to learn the basics, mixing. You have to know how to play well, and then you can do it You want to start at level 6 without even knowing the 2.

You have to have the Feeling Do like all of us. I went to the gallery, I couldn't buy the record, but I went there, I knew the name. Watched the front and back cover the name of the producer, name of the guy on some the track Today the guy does Rap and doesn't know who Thaíde is don't know who Pepeu is don't know De Menos Crime.

How so? You have to study, son! What is he really proposing to do If you always want to be beautiful, you get plastered If you're open to error, when you get it right it's a masterpiece.

I didn't get into the business to make money and to be famous Don't take it as a hobby, if you want it to be a profession, face it as a profession too. I become a reference very quickly, because I went for it and many girls come and tell me, "You are my reference. " And since I started painting, I've had this in my head.

every woman I can make paint, I'll make her paint! Through graffiti, I connected with people from all over the world and a young dreamer from the East Zone, today I can say I've been to 30 countries 100% due to graffiti You have to believe, and speak English! Because you're going to a championship in Holland, the guy says "How many days do you stay here.

" You "Huh? " It's not about shining. Today with the maturity that I have; it's about enlightening Realize that even after I leave a little bit of me stays here.

I feel so inspired to be able to share some of this love for dancing. Hip Hop culture is very different from movement When you say "movement," everyone is in favor of one thing. Hip Hop is several people, each one has a goal I have the goal of dancing, Rooney wants to be a DJ, you want to be a graffiti artist, the other wants to be an MC Culture is for everyone, everyone does it their way and everyone seeks what they think is best for themselves And who is Iceblue?

A troubled guy and angry. Who is Edi Rock? A guy who wants to live, wants to live and age with health.

That's what he wants. This is what I want. I'm still looking for the "Magic Formula of Peace" That's what I saw in Hip Hop, I saw a world that maybe where I was, in Triunfo, I'd just be a goat breeder ar a plaintan seller, something like that.

Wow, thank you, Hip Hop, thank you for existing! And thanks for giving so many opportunities to our peripheric people Do you know a guy who likes Hip Hop more than Rooney? I know.

. . Myself!

I think we like it the same. We like the same. Does Zé Ricardo still exist?

Of course! - Or just Rooney? - He exist.

Zé Ricardo was your first friend when we were from rival gangs. Zé Ricardo is the guy who signs the check, right? Rooney is just a character.

We create a lot of characters inside us. I have Guardian, I have Rooney, there is AJ Naja, who is the DJ Since the days of Cultura de Rua, there have been Bboys Due that I was the DJ of the MC Due There's Gang$taRooney who likes to sing Rap, but I don't have the talent that Thaíde has, that MC Jack, among other MCs from our time But he likes to do, wants to be present, wants to share everything he experienced learned and did There's a hashtag I've always used which is #WeAreAlive Because people think we don't exist, and we're here every day saying that we're here, we are alive. Hip Hop brought us this bravery, this thing of a fight against a system not only, while Rap had a political side we had a musical side to fight for our space Why are we so different from them if we have conditions, knowledge?

For example, Hip Hop DJs, man. This is well known; they have a lot of musical knowledge Of any other genre. Sit down and ask about music, man, we give it from 10 to 0 We know the history of Blues, Jazz, Soul, Hip Hop itself, R&B, Rock, Reggae, Jungle, Drm & Bass Because we felt the need, we had to be accepted You are accepted for only two things, strength or intelligence I believe Hip Hop is a spiritual phenomenon and an astrological phenomenon too.

The stars were in an alignment at the time it started. It changed a mentality in the world, it changed generations It's still changing; it saved the black people in the world. Blacks were supposed to be ghosts today if it wasn't for Hip Hop Hip Hop gave this.

. . How am I going to say?

did this rescue THE NATIONAL HIP HOP IS A COLLECTIVE CONSTRUCTION. COUNTLESS PEOPLE PLAYED AN IMPORTANT ROLE IN SHAPING THIS CULTURAL MOVEMENT. THE PEOPLE THAT APPEAR IN THIS SERIES ARE JUST A FEW OF THEM.

WE WOULD LIKE EVERYONE TO FEEL REPRESENTED, AS UNFORTUNATELY IT WAS NOT POSSIBLE TO CALL EVERYONE. AT LEAST FOR NOW. .

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