Selbstinszenierung im Cyberspace: Potentiale digitalisierter Identitäten im Internet (German Edition)

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Expert Review of Vaccines, 16 Respiratory research, 18 1. The Lancet infectious diseases, 17 Environmental Science and Technology, 51 6. Bertrand, Ch. Bonnet, M. Bousquet, J. Cramer, Ph. Cramer, G. Up to now the law is the part of the society which is most sceptical towards images. Law has still resisted the visual temptation.

This will not last for ever. The rush of pictures in everyday life and in every part of the society is much too strong - and it is even getting stronger. The invasion of images will change the character of modern law deeply. Modern law will become a Pictorial Law. What are the chances and the risks of Pictorial Law and visual law communication? This year, when I arrived, the man who had gotten me into a carnival group in the first place came up and gave me a big hug. Thanks for giving credit where credit is due. And at the end of the carnival season, I ran into my carnival mentor again. I quickly remedied the situation.

By Theresa Beyer Norient on December 6, Wenn er will, dass etwas zu Stande kommt, dann klappt das. Im ernsten Leben ist er Anwalt. Ein fester Termin ist das Festival im Mai. Einige Male kam der Entscheid sogar erst Monate nach dem Festival. Aber ich finde es schon problematisch, wenn man als Schweizer hier her kommt und an einem Abend das verdient, was die Leute pro Monat bekommen.

Aber implizieren finanzielle Hierarchien gleich auch kulturelle Hierarchien? Sie war auch selbst eine Avantgarde-Metropole. Dennoch gab es in der Schweiz kontinuierlich eine aktive Szene mit ihren eigenen Festivals und Hot Spots. Und diese Bedingungen wirken auch immer in die Musik hinein. Norient ist Medienpartner des Festivals. By Julian Bonequi on December 6, This promotional compilation gives us an insight into the stock of a database, which is collecting experimental and noise music from Africa and Asia since more than ten years.

The aim of the database, run by a label called Syrphe , is to let people know that alternative electronic, experimental and noise music also exist in underrated continents. About ten years later, after going to different schools art academy and other stuff but finishing almost none of them, I studied a bit electro-acoustic music in Belgium under the direction of Annette vande Gorne. I set up my first band in , I was 17 back then and decided to play some noise and industrial music, simply because I liked those styles way more than punk, I was full of rage beating metal scrap and screaming in microphones mostly.

I had to experiment with cassettes, walkie-talkie, metal sheets and pipes and other objects. I was forced to use my mind, to be creative, even if when I listen to some of our old tracks, I think that not all of them were good pieces of music. I regret nothing, I learned a lot. I quickly started some other projects, solo or bands, playing different styles from noise to dark ambient, industrial or minimal music and later breakcore, electronica, drum and bass, digital hardcore and so on. But there are many more. I organise some events, mostly in Berlin, do some audio mastering, remixing and editing for artists, occasionally compose music for theatre, dance, short films or cine-concerts, collaborate to the Staalplaat radio show once or twice per month, programming experimental music from Latin America, Asia and Africa, I give presentations and lectures now and then, and write a book about African and Asian electronic and experimental music.

I often tour in those continents and across Europe especially eastern Europe. I then lived and grew up in Belgium. I left that country around to live in the Netherlands, until late , then spent six months in far east Asia, kind of came back to Belgium or better said, between Belgium half of the year and the rest of the world other half of the year. I moved to Berlin in , still traveling a lot though. And the only place where I feel good here around is Berlin. That was Berlin or far east Asia anyway but for some personal reasons, back then, it was at least better to stay in Europe.

Now things have changed. I could one day or another end up in far east or south east Asia. Berlin is to me like an island in a country I dislike a lot and a continent quite decaying. I may be wrong but I perceive things like this, pseudo economical crisis hence a so-called lack of money for education, health and culture, rise of fascism and philosophical and religious intolerance, sexism, racism, etc.

The rigid and absurd German bureaucracy gives me nausea, this is an oppressive place where poor people are getting crushed day by day. The so called European model is an ultra-capitalist place where individuals pay tons of money to a corrupted state, dishonest insurances and wealthy conservative politicians. Meanwhile, some say Berlin is not what it used to be.

Berlin definitely lost some of its freedom but is still more opened than any other European capital. I know no other place where one can go out seven days per week, twenty-four hours per day and cross so many people from everywhere at parties, exhibitions. I learn and share a lot here: there are plenty of alternative scenes any form of art.

One can learn plenty of languages and customs, you meet creative people, etc. Connections with real humans. There are some downsides of course but less than anywhere else in Europe to me. At what point did you decide to create an experimental music label with musicians and works coming from Africa and Asia? And which ones were the motivations to create a label with such approach?

The first published CD was a co-release with his label. It took me two years to get in touch with enough artists to produce that CD. After spending months in the far east and having collected some more contacts in North Africa and the Middle East, it was time to show that there were some very active experimental and electronic music artists over there. When I studied electro-acoustic music at the conservatory, we never heard about any composers from non-Western countries, that disappointed me a lot. And if you study nowadays in France or Belgium, nothing has changed. According to most academics, Pierre Schaeffer invented everything, no one existed before him and nowhere else was there any experimental music composers.

It was to me important to share my knowledge in this matter and to, so to speak, re-write history, speak about what the west concealed again. The situation is similar to the way modern art from non-Western countries but a few China, Japan, Turkey… , do you often hear about Tanzanian contemporary art? Indonesian audio-visual installations? Of course not. Some of the other albums were financed with the help of a few of the artists whom I collaborate with. It gives me or us a total freedom. But what I see is this: plenty of people downloading the music you give for free who listen once, twice or never to what you offered because the market sadly it is a market is saturated: too many artists, too many releases, too many labels.

Many people consume music in stead of listening to it carefully. This is why I favour physical releases. I just hope they do more than simply collecting and forgetting. I see some who publish a CD or a vinyl and never send any copies to the press, they only promote via one or two social networks and sell almost nothing of course. Perhaps unless you have a strong core of fans, you have to regularly remind people that you published something, that you play somewhere, better tell it thrice than once or twice. The world is overwhelmed with information, people get lost, not counting all those who have only a short term memory.

Making special packages or offers, producing original music or dull popular sub-genders! It is only through friendship and collaboration that you can generate some good work and networks, to me there should be no place for rivalry. So much has been done already. Experimental music is this year years old, electronic music almost as old as that. From harsh noise to digital hardcore to electronica or electro-acoustic music.

I always refer to both continents but it could be the same with Latin America; I published a few artists based there too. I want that people stop being surprised to discover noise music in Algeria or electronica in Palestine and I want more interaction, more travel, more exchanges, to build bridges not only between the east, south and west but also between countries. I want people, even those from alternative scenes, to not only eat what their favourite alternative media provides, I want them to dig for it too, mainstream medias are biased and tend to push listeners where they want them to go or where big labels want them to go, alternative media are sometimes not better.

Until recently most non-westerners would look at what happens in Western Europe, the USA, Japan, eventually Australia, nowadays it finally starts to change. They are often the first ones to complain about the lack of money here and the first one to ask you to add them to the guest list. Only scenes like minimal techno, industrial, gothic, punk, hardcore, rock are more connected to the Germans. So what would Berlin be without those coming from abroad? Even more poor and bleak I feel.

This city offers plenty of art but we have to select the best of it and I boycott as much as I can low quality events; some artists go to parties only for getting wasted, I go to see performances, to discover new artists, follow and support other ones I appreciate and get some new inspiration. Most of them into avantgarde. William Bennett did all the tracks himself. They were mostly related to ambient electronic or electro-pop. Perhaps you speak about your own experience in Berlin and Mexico, and indeed in Berlin and some other places like London, New York, Tokyo, etc.

Even in Berlin you can find a few independent venues where artists are reasonably paid and well treated. And I performed in museums, universities and art galleries which offered more freedom and better salaries than most independent venues I know. Some say that we should never collaborate with official institutions as they are part of the state. But if you refuse to take these opportunities who knows what kind of project they will support then.

This money that is reinjected in art and culture has been collected through various taxes that we paid, so it is also our money. Nothing is black and white only. If organisers know you play for free, then you become some kind of cheap labor for them and everybody wants to book you for nothing. We all need to eat, pay a rent, buy new gears, why would we play for free all the time? I noticed how well treated one can be in Indonesia, Bosnia or in Algeria to speak about a few, even if people have no money, they try to cover at least a bit of your travel, they provide you a meal and a couch, they give you all what they have, they thank you to invest time and money to perform in a place where this music is not so common and then you have some European organisers or clubs who treat you like shit because you dare to ask for a bottle of water and remind you what a great honour it is to perform for them.

In French. Audition-Records just released another promotional compilation with sounds of the indonesian experimental rock band ZOO. Read more here and download the compilation here. Ausgerechnet Julian Sartorius. Wohl gestohlen. Ein Worst-Case-Szenario. Bin nicht mehr als die Stimme, die spricht. Leichte Kost ist es nicht. Alles ist in Bewegung, auch weil Sartorius das Unfertige, das Neue interessiert, von dem noch ungewiss ist, wohin es sich bewegt.

Nichts fehlte. By Robert Rigney on November 22, Shazalakazoo from Belgrade transform traditional serbian music into electronic dance music — and reach mainly audiences in western Europe. To a large degree it is the result of Balkan immigrants in the West taking the folk music from the Balkans and blending it with Western club beats. Balkan star Shantel has spoken about a new immigrant sound equivalent to the sound that originated in the hands of West Indian immigrants in England in the sixties and seventies. The phenomenon of Balkan Beats has not gone unnoticed in the Balkans itself.

In Belgrade Shazalakazoo are busy manufacturing electronic brass Balkan Beats and they have taken their show on the road in the West, particularly in Germany to great success. The two musicians Uros and Milan took time out from their German tour to meet over a couple of beers in a Berlin bar. Milan and Uros are native Belgraders. They have grown up with war, international sanctions, NATO bombs, mass confusion. They grew up in dark times, in a situation where daily life was a constant fight for survival.

Looking back on those times they now see that, for all the hardships they had to endure, the fight for survival made life interesting. Like all Belgraders, they made do as best they could. Faced with isolation from the West instead of resigning themselves to a condition of ignorance, they availed themselves of what unofficial, underground, illegal resources there were.

Belgrade had something unique back then: an open air market of pirate CDs pirated from all over the world. There was world music, metal, break-beats. All the latest stuff offered up for sale and tolerated by authorities for the simple reason that Serbia was under sanctions, with the result that the politicians shrugged their shoulders at the pirates, refusing to lift a finger at this illicit trade. It may seem at first paradoxical, but precisely because of international sanctions people in Belgrade had access to all the latest music and films to an extent unknown in the West.

But if you wanted to be informed you could be. Who wanted to could be informed for a really low money about everything going on in every part of the world. It was not like that in Moldavia. It was not like that in eastern Germany. It was nowhere like that. Just in Belgrade. And I think there was nothing wrong about it. During the nineties, during the time of war, nationalism and international sanctions, the music scene in Belgrade was marked by one thing in particular: turbo folk.

Turbo folk is a style of music unique to Serbia, but with equivalents in almost every developing country in the world, that blends elements of folk music with Western pop and is characteristic of societies in transition. Turbo folk is relentlessly upbeat, oriental, marked by maniacal keyboards and wailing Turkish style vocals with artists singing by turns of love and nationalism. The most famous practitioner at the time was Ceca, wife of murdered mafia boss and paramilitary leader Arkan. It was the only game in town.

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The presence of turbo folk has grown somewhat more moderate in Belgrade since Milosevic fell from power, but it is still a force to be reckoned with and a source of irritation for Uros and Milan. One of the peculiar things about turbo folk and its fans is that while many of its listeners are extremely chauvinistic and strident in their abhorrence of anything non Serb, and outspoken in their hate of Muslims, the music is marked by a distinctive oriental air characteristic of the Muslim music of say Turkey or Iran.

Because all the time they are listening to turbo folk which is eighty percent oriental. But they are like big Serbians who are hating Muslims. What Uros and Milan turned to instead of turbo folk was trubaci, Serbian brass music, which had been traditional in Serbia since the nineteenth century when it was introduced to the country by Austrian military bands. And every day is like that. I can never remember when there were no brass bands playing in front of the building. Western Djs have incorporated Serbian trumpet riffs in club remixes and year by year more foreigners flock to Guca, the annual summer brass music festival in the Serbian countryside.

While brass music is largely popular only with elderly people in central Europe, where the music originated from, Serbian trubaci has a youthful following in Serbia and the West. They just blow into your face. Also on the street. For the time being Uros and Milan of Shzalakazoo are in an odd position in Belgrade. As low-life music.

So after five or six trubaci songs the emotions begin to rise. And we have problems with that also because we mix the Muslim and Albanian music. So it is pretty dangerous. We have to mix it all up. Then they can dance to it. If there is more than half an hour of trubaci it is not for Belgrade. It is not for Balkan and it is not for Beats. The duo tours Germany on a regular basis and are often in Berlin. Paradoxically, while the trubaci is often what is not appreciated in Serbia, the heavily electronic aspect of Shazalakazoo is what irks some people in the West. They expected a couple of Gypsies doing stuff with violins.

But they got two white guys with laptops and only equipment and little knobs playing electronic. So they were a bit disappointed. By Thomas Burkhalter Norient on November 20, The co-edited book is finally out! Ten articles about new musical positions in the Arab World. Order the book via Wesleyan University Press , Amazon or via your local bookstore. From jazz trumpeters drawing on the noises of warfare in Beirut to female heavy metallers in Alexandria, the Arab culture offers a wealth of exciting, challenging, and diverse musics. While most books on Middle Eastern music-making focus on notions of tradition and regionally specific genres, The Arab Avant Garde presents a radically hybrid and globally dialectic set of practices.

Chapters delve into genres and modes as diverse as jazz, musical theatre, improvisation, hip hop, and heavy metal as performed in countries like Iraq, Egypt, Lebanon, Syria, Palestine, and the United States. Contributors include Sami W. The articles see table of content discuss works from these and other musicians and artists:. Hassan Taha see article on Norient. Music to Our Ears. Al Maslakh. Mort aux Vaches.

Red Circle Music. Columbia-Princeton Electronic Music Center. Columbia Records.


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Crossing into the Electric Magnetic. Without Fear Recordings. Here History Began. Ministry of Culture and National Guidance. Hawthorne Records. Sounds of New Music. Folkways Records. Radif Suite. Pi Recordings. Elsaffar, Amir. Two Rivers. Jubran, Kamilya, and Werner Hasler. Abu Tarek. Creative Sources Recordings Unfamiliar Territory. Extreme XEP Beyond Destruction. Uruk Records. Out of Bagdad. Mirror of Vibrations. Sleaszy Rider Records. Beat Mutation Rituals. Made in Japan. Annihaya Records. Muesli Man. Creative Source Recordings.

Bi-ma Innu. Valley of the Sandwalkers. Beach Party at Mirna el Chalouhi. Johnny Kafta.

Meaning of "Selbstinszenierung" in the German dictionary

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Waking Up Scheherazade. The Armageddon Codex. The Clown. The Adventures of Nabil Fawzi. Al Maslakh Recordings The New Album. Thomas Burkhalter, By Benjamin J. Harbert on November 20, My penchant for transcription and formal analysis does not always make for the easiest conversation. A dated poster of Jimi Hendrix graces a cinderblock wall. I heard a parallel in the musical structure. Finished collecting materials, I wait to talk to Bill. The last-minute recording session is wrapping up. Inmates in blue prison uniforms wrap cables and pack up instruments. The last thing I want to do is subject Bill to pseudo-psychological analysis in the form of obtuse musicological analysis.

I might as well see how he improvises lead guitar licks to Rorschach inkblot cards.

Selbstinszenierung Cyberspace by Otte Jan Thomas

I lay out my analysis anyway. Bill lights up and cuts me off. By Heinrich Deisl on November 19, Letzter Teil der Serie Sonische Symptome. Oder: Tanz die Rhythmaschine! Letzteres jenes Buch, das eines der theoretischen Fundamente des Detroit Techno darstellt. Von Comics gar nicht zu reden. Rhythmus organisiert Zeit. Tanzmusiken als Denkmusiken eben. Dabei darf man keinesfalls auf jene Revolutionen vergessen, die sich in den letzten Jahren im Hi-End-Pop-Business abspielen. Hier ist die Utopie nicht nur bereits im Pop angekommen, sondern verortet ihn als logische Konsequenz in einer technosozialen Simulation des Selbst.

Nachdem die beiden Detroiter mehr als zehn Jahre an ihrer Unterwasser-Techno-Forschungsstation Drexciya gebaut hatten, verwandelt sich ihre Musik nun zu einem Raumschiff mit Destination Planet Drexciya. Suhrkamp, By Holger Lund on November 13, Anatolian rock — what does it sound like?

Why does it sound the way it sounds? How has it started and how can this music be contextualized? These are some simple questions to begin with.

Digitale Identität

I will try to answer them following a musico-ethnological approach, which is rooted in Alan P. So what does it sound like? This tune is played with Turkish instruments, sung partly in Turkish partly in English, and shows a smooth, apparently natural transition from Turkish folk to American twist music. It contains both Anatolian folk and Western pop [2]. We will later come back to this tune and its specifics. To provide some historical background: Anatolian rock belongs to the first wave of global pop, which took place from the end of the s through to the s worldwide, for example even in Uzbekistan, Nepal, North Korea and Mongolia.

From onward a third wave of global pop emerged, so-called hyper pop. Example for the latter are offered by M. Also relevant here are tendencies in hip hop to use beats from all over the world, like the hip hop-style double album Dr. DJ and producer Oh No, released in and based exclusively on Turkish funk and pop music samples. Back to the origins: three more short examples for the Turkish participation in the first wave of global pop will give you a more precise idea what we are talking about. Indeed the composition is based on a Turkish folk tune. The Turkishness is enforced through the lyrics sung in the language and with a phrasing typical for Turkish song [4].

These four sound examples from Varveren to Karaca show different ways of building musical hybrids. Two patterns are involved: the relation between the different parts, and the amalgamation of these parts. The twist sounds grow naturally out of the Turkish folk music, as if there were no ruptures between the styles at all.

Opposed to this approach Cem Karaca sticks to a sort of juxtaposition, where a Turkish folk part precedes a Western-dominated rock part. If we go back in the history of these musical hybrids, we come to three key dates: , , and This order is not chronological, but helpful to understand the development. This song on the flip was already a fully developed example for a musical hybrid, a blueprint for what would historically follow, as we have heard in the musical examples at the beginning: Turkish and Western elements combined in language, instrumentation, rhythm, melody, and harmonies.

All these terms were used to describe the same synthesis of Western pop or rock and Anatolian folk [10]. Just to be clear: the term Anatolian rock is not bound to Anatolians playing rock music, but used as an umbrella term for all sorts of music which combine different styles of Western pop and rock, psychedelic, funk, disco, progressive, folk, and so on with Anatolian folk music.

At the same time all these terms function as a differentiation, separating a specific version of pop-rock music from purely traditional styles of music on the one hand and from Western pop-rock music on the other [11]. In , the second important date, a very popular music contest took place that included record releases.

The requirement was to compose a new song in Turkish or to rearrange a traditional Turkish tune, which should be performed in a Western style incorporating electric instruments. The significance of this contest cannot be overestimated [12]. It led to a music, which was no longer just copying The Beatles or Buddy Holly in language, composition, or instrumentation, as was the norm in many other countries participating in the first wave of global pop.

This contest opened the gates for the development of a specific Turkish hybrid — Anatolian rock, with a fundament in Turkish language, Turkish compositions, and Turkish instruments, combined with modern electric instruments and a modern rock approach. This contest also changed the music market. The big old record companies Odeon, Pathe, and HMV which had dominated the Turkish market so far, backed out because of piracy practices and a difficult legal situation [13]. One part of the hybrid, the Anatolian one, leads us back to the third important date, On this map , there is shown the decline of the Ottoman Empire as a history of territorial losses down to the frontiers of the Turkish Republic in And a new nation needed a new music, for sure.

So the new music for the new nation consisted partly of a very old, even pre-islamic and pre-Ottoman music. The attempts to construct a new Turkish music were a big failure at first. In the s Turkish radio played Western music like waltzes, tango, and jazz as well as European operas in Turkish translation. In government-sponsored ballrooms Western music was preferred, Turkish music was even banned from the radio for several months [22].

But Western polyphony failed to attract, and in consequence the people turned to the Arab radio stations, especially Egyptian and Lebanese, instead of the Turkish ones, and Eastern infusions became increasingly popular. Later on, parallel to the Anadolu pop and rock music in the s, an Arab-like music was invented, called Arabesk, relying mainly on Eastern music traditions. Here is an example from the year by one of the most famous Arabesk singers:. Typical for the Arabesk genre are the Arab singing and the Arabized strings.

Before we come to the relationship between Anadolu pop and Arabesk, which gives character to both styles, we should take a look at the East-West-conflict underlying each style, which could also be heard in the four examples of Anatolian rock provided at the beginning. The Eastern music tradition is connected to the music of the Ottoman past see this map , meaning a music that ranges from Asian to Persian as well as from Arabic to Balkan sources. Simplifying things a little, one could say that the Eastern music tradition is makam-based, consisting of defined types of interval structures and melodic structures used in classical Turkish music.

It is monophonic and microtonal music. A typical instrument for this kind of music would be the saz, which later became very prominent in Arabesk music. Western music tradition on the contrary is well-tempered and polyphonic like European classical music. A typical instrument for this kind of music would be the piano or the violin. The new Anglo-American pop-rock music had the guitar as its most typical instrument, well established in European classical music, but now electrified. This electrification made it a symbol for a young, modern, and urban music. All types of mixtures of East and West took place, in Arabesk as well as in Anatolian rock, and perhaps the perfect symbol for these mixtures is the electrified saz as an old Eastern instrument driven by modern Western electricity.

Typical for Gencebay is the string section [24]. To sum up: Arabesk and Anatolian rock music were developed in parallel during the s and coexisted until the end of the s. Therefore I would propose not stressing the opposition of Arabesk vs. Anatolian rock as much as it has been done before [27] , but to have a closer look at the hybrids of Arabesk and Anatolian rock, which are not seldom at all.

Here are two more striking examples of what makes Turkish music so rich in building hybrids:. Is this Anatolian rock? Yes, as it contains a Western rock drum set played in a rock style. Is this Arabesk music? Yes, that too, just listen to the Arabesk singing. It is an hybrid of Anatolian rock and Arabesk, of which so many exist, often neglected in music perception and music studies since Western DJ and Beat-Making Cultures are not able to work with asymmetrical rhythms and Arabesk singing.

All the more: Arabesk music has a bad reputation, especially in Turkey itself. This has to do with its public. Arabesk was made for the poor rural immigrants and workers, living in gecekondus, informal settlements in the periphery of the big cities like Istanbul. It was even regarded as impure, dirty, degenerated with its Arabic and therefore non-Turkish orientation, being so far away from the bourgeois urban center and its well-educated, Western-orientated population [29].

Interestingly you may even have both structures, Bati and Dogu, in one tune. To conclude, Anatolian rock may be perceived through two patterns: Turkishness and Western World as the first pattern, and the Turkishness itself ranging from Arabesk to Anatolian rock, from East to West, as the second pattern. Hence the music reflects the range and problems of Turkish identity. Music on the Turkish territory was practiced in the Ottoman past, then separated from this past by state politics of the new Turkish Republic.

Later on, this past came back via Arabesk. The young Turkish Republic was orientated toward the modern Western culture, even by law, which did not work out at first. With the infusions of Western pop-rock music in the frame of the first wave of global pop, a Westernization took place, perhaps more intense than ever imagined by the founders of the Turkish Republic.

This Westernization did not erase Turkishness, on the contrary it built up a new Turkish identity in hybridity. Alan P. In fact this tune is mocking twist music, offering a satire of the style. Therefore it took five years of playing cover versions of American pop music until the first release of the music on vinyl. One of the most important labels was Sayan. This is something special about the Turkish music market compared to other countries taking part in the first wave of global pop. It was an almost independent music market with some more important companies but also a huge number of smaller players releasing music; cf.

Pierre Hecker: Turkish Metal. Regev brings in another concept, that of an aesthetic cosmopolitanism. The nationalistic component is the point of view from which a cosmopolitan perspective is developed for the case of Turkish pop-rock music. This kind of music used the first Arabesk musician, Suat Sayin, as reference source. Problematic for a wider appreciation also seem to be the partly transsexual connotations cf. By Julian Voloj on October 30, Diesen Sommer fand eine Reihe von Konzerten statt, die den Laut Bambaataa kann Hip Hop in vier verschiedene Elemente unterteilt werden.

By Philip Vlahos on October 29, Hinsichtlich der institutionellen und politischen Bedingungen sind ihre wilden Parties mit selbstproduzierter Musik dennoch kleine Rebellionen: Auch nach Mubarak sind die MusikerInnen starken Reglementierungen ausgesetzt.