RE-VOLT MAGAZINE ISSUE 10 AUGUST 2014

ISSUE 10 • AUGUST 2014

YOUR MONTHLY SOURCE OF REAL HIP-HOP CULTURE

re-volt magazine is a new platform under the same roof as re-volt blog, which initially started as a space where views on mainstream music can be openly discussed, where the music industry is put on the stand and criticized, and lastly, where underground, talented unrepresented artists are given a chance to stand out.

Our main focus is to expose hip hop as a positive genre and detach it from the corrupted mainstream hip hop.

Starting up an online magazine will benefit this message, as re-volt magazine will reach more readers worldwide and will enlighten people on the power of the word and the role of hip hop in the Arab region.

Aside from the well-known elements of hip hop - which are MC, BBoy, Beatbox, Graffiti, DJ and Knowledge re-volt magazine also focuses a great deal on any other forms of expression/art that concretize the richness of our Arab culture.

The list includes films, documentaries, initiatives, events, companies, charity organization, etc...

A mic, a choreography, a vocal percussion, spraypaint, a vinyl record, a book or a film...

We choose all the above.

The power of the word to inform, to represent and to stay real!

EDITOR HASSANE DENNAOUI ASSOCIATE EDITOR | GRAPHIC DESIGNER Hanane FATHALLAH CONTRIBUTORS If you’re interested to write for re-volt magazine, email us revoltmag1@gmail.com

CONTENTS A special edition featuring the old and the new. re-volt magazine team is on vacation mode, but that didn’t stop us from putting together another recap issue, showcasing some of the greatest features and highlights of our magazine, since we started 10 months ago.

So we’ve decided to take a time-out and reflect on what we have accomplished so far.

The highlights of this issue are: An exclusive Beating Poetry + Q&A with Moona Moon an interview with Don Substance an album release El Nargisee by The Narcicyst a single release FREE by JABBAR and an in-depth interview with May ALQASIM re-volt magazine team has received article submissions from Jessica Noyes and another brilliant short essay entitled “Before it is too late” by KARMEL. Many thanks to Iranian painter Khosrow Hassanzadeh for the cover. re-volt TEAM Hassane & Hanane DENNAOUI

Cover Artwork Khosrow Hassanzadeh Dome, 2010 Ceramic and mixed media 500 x 300 cm | 196.85 x 118.11 in

CARTOONS

Discuss this cartoon on Twitter @revolt_magazine #revoltmag_cartoon

New Khartoon!

Arab Relations #Syria #Palestine #Gaza #Lebanon #ISIS #Iraq #Qatar #Saudi #UAE #Bahrain #Sudan #Tunisia #Algeria #Morocco #Libya #Egypt

FEATURE | THE NARCICYST

[FOLLOW The Narcicyst] Twitter @TheNarcicyst [FOLLOW The Medium] Twitter @WeAreTheMedium http://www.wearethemedium.com/

Take us through the process of crating “We are the medium”?

The process was revelatory and painstaking. I wanted to make a project that represents the spectrum of music making and technology. So, the first song is really about the fleeting problems we face as artists and how insignificant they are when you reflect on the larger problems of life; comparing the process of writing my album, not my EP, to the process of grief, or losing a father, or exploitation.

Really saying that, my problems and my worries as an artist are really nothing compared to the real life problems presented to the world. By the end of the EP, with Shadow, so see that I found myself by going 360 degrees back to the beginning.

Am I really the compassionate one? Am I the one that I am reflecting on or am I looking at the world?

This project was really reflective of my confusion.

Leap of Faith was a point where I let go of everything I knew as comfort and started experimenting, this one was the opposite.

I was in a place where I was challenging myself, my norms, my sound and my process. I was asking myself if I even wanted to do this anymore. By the end, I realise I do, all over again.

‘We are the Medium’ is confusion and growth.

The duality of life.

Your style is like a mixed media painting. How do you keep it so diverse? What does your style feed on?

I get bored easily. Also, I don’t like to follow trends or my own comfort zone of creativity.

I always want to step out of myself and show that diverse my influences are, but also, layer my music as layered as my life is. I don’t really enjoy rap music as much as I used to, though I LOVE solid rap, I love it when bars make you THINK.

So I loaded some tracks with bars, and others with lyrics. You know, sometimes I’ll speed by you at a million words a second and it seems really fast, but If you slow down and listen to the words I am saying a whole lot about my life, and about my listeners. More importantly, I am learning to reveal more about myself as opposed to the world. I’m introducing people to Yassin. Preparing them for the next phase and wave of art and music.

I mix my own music as well, I record instrumentalists, I produce now. I think I’ve found a zone where I have a sound. Everything is purposeful but also natural in the process.

I have 75 mixes of First World Problems that are all completely different.

I’m not exaggerating when I say that either.

What can we expect from THE MEDIUM? Expect challenging art.

Thought provoking collaborations.

Moments created through media that reflect on themselves and the future.

More importantly, we’re setting up a new platform for independence that’s created through community.

To support each other and take each and every artist to a new platform.It’s a bit vague I know, but it will all make sense.

I can’t reveal too much.

We have a short film coming out, my next album, some art exhibits and alot of media consulting.

Interview by Hassane DENNAOUI a.k.a. Big Hass revoltmag1@gmail.com

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REVOLT/REPORT | WHY FIGHT THE CULTURE? (PART ONE)

[FOLLOW JESSICA NOYES] Twitter @Ms_Jnoyes Instagram JNoyes90

Why Fight the Culture? (Part One)

by Jessica Noyes M.Ed., Urban Education, Pittsburgh, Pa, USA

With the sounds of pencils tapping to the imaginable beat flowing through the ears of my students, mixed with the occasional humming of song is commonly what you see and hear when you enter my classroom.

I often get, “Ms. Noyes did you hear this new song?” or “Ms. Noyes do you know who so and so is?” More often then not I also get “Do you personally know (the student will name a big rap artist)?” I laugh and say “No” and the class period continues on with research, discussion, reading and learning.

Hip-hop music has always been my passion listening and learning from the conscious rappers to the, yes, one hit wonders and often comparing them lyrically.

I have meshed my love of teaching with my passion for music and often use hip-hop to teach American History. Bet you never thought you could teach about the American Revolutionary War using Tupac? Well you can and the students tend to be much more attentive about a war that took place 300+ years ago when, as the educator, your able to build the bridge between their culture and historical events. As an educator we are constantly told to teach to the book, the test, or the curriculum in order for our students to pass the state test. I’ve chosen to not fight the culture that has infiltrated the lives of my students but teach through it.

Why fight something that can be just as easily used for success?

In teaching American History I have purposely chosen songs such as Tupac’s Letter To The President, Common’s, I Used to Love Her, Dead Prezidents’ They School, Talib Kweli’s Black Girl Pain* to indulge my students in conversations that are significant to who they are as individuals in the framework of American history but also because the culture of hip-hop has become prominent in America, more specifically in the urban areas of America. The true art of hip-hop has been lost. As a friend once put it to me, “Hip-hop was the daily news, you could get everything from a hip-hop song.” Sadly, the majority of the mainstream music that is coming through the ear buds of my students is not the daily news and for this reason I teach hip-hop. *as approved by administration

Interview by Jessica Noyes M.Ed. Urban Education, Pittsburgh Pa, USA

ALBUM RELEASE | FIGHT FOR PEACE

BIG MO | FIGHT FOR PEACE ‘Fight For Peace’ is a critical and conscious school of thought that delves into the prevalent issues we are facing individually, economically, environmentally and as a society. All set to a backdrop of varying soundscapes with organic instrumentation and hints of bass & synth.

Released 04 July 2014 Executive Producers: Green Luck Media Group & Samarei Music Written by: Mohammed Alkhadher Composed by: Sam Waldo Produced by: Sam Waldo (Samarei Music) & Bryce Trost (GLMG) [BUY ALBUM] http://bigmoglmg.bandcamp.com/album/fight-for-peace-ep-2

ON THE GO | Q&A DON SUBSTANCE

Exclusive Q&A// DON SUBSTANCE 1.What got you into production?

I guess it started with me going to a local jam and watching this dude on a pair of Technics 1210 turntables. The way he seamlessly kept James Brown’s ‘Funky Drummer’ break going to then bring in some other funk classic on top of it had me mesmerized. It pushed me to get into DJing at around the age of 15/16 and it kinda of went from there... a natural progression.

2. Do you remember the process of your first beat?

Yeah, to a degree! The way we did tracks back in the late 80s was a lot different from now. It started with a drum machine beat which I programmed on a Roland TR 909 that I bought second hand. You then had to record that to a cassette tape while laying some other vinyl sample over live. That recording was then taken out of the tape recorder/boom box and played... the recording was dubbed with other live vinyl samples ad infinitum!

The quality eventually degraded due to the dubbing but

the rough ideas for our demos were there.

This was before I bought my first sampler.

After that it became much easier!

3.You were based in Saudi Arabia for a while.

Did that influence your production?

I’m still here man! I guess it did, although I didn’t really get to mess around with much Arabian music/samples surprisingly.

Actually, before coming to Jeddah most of my production was sample based as that is what I mastered back in the UK, but that changed when I started messing around with playing stuff myself using VSTis and other things.

A friend of mine gave me a bunch of R&B tracks to recreate which I did quite closely... after that I experimented a lot with a Neo-Soul vibe which still had heavy elements of hip-hop regarding the beat structure.

ON THE GO | Q&A DON SUBSTANCE

[FOLLOW DON SUBSTANCE] Twitter @DonSubstance https://www.facebook.com/don.substance soundcloud.com/don-substance

4. Who are your influences?

Countless. Production wise, then my early influences were The Bomb Squad, mainly. Early Primo/Gangstarr, some UK groups like Hijack. Pete Rock. Later on my sound was more down-tempo and heavily influenced by Dilla and Madlib, and again Pete Rock.

Other producers that I loved around the 2000 mark were Hi-Tek, Illmind, and a lot of Neo-Soul artists such as Glen Lewis, Rapheal Sadiq, and Dwele. Music wise, then a lot of old R&B, 70s soul, reggae, dub and other stuff like 80s pop/rap/soul. My best stuff has been made when I’ve been the most emotionally unstable... what that means is your guess as good as mine!

6. Who would you like to work with in the future?

EMcees? Yassiin Bey! You still need to play him my ‘Beef ’ remix man! Always been a fan. Lupe Fiasco. Skyzoo (actually have some verses he spat for a project I was doing but other stuff got in the way of completion.)

Oh, and Elzhi. If you’re asking about production then probably Madlib - he’s pretty introverted by what it seems (like me) and a phenomenal beat maker/producer.

7. Tell Re-Volt Magazine something not a lot of people know about you.

Obviously you mean something interesting?

Erm... I’m a diagnosed narcoleptic. Ask Tim Granite!

Interview by Hassane DENNAOUI a.k.a. BIG HASS revoltmag1@gmail.com Twitter @BIG_HASS

5. Who are the producers you enjoy listening to in Saudi?

My fav has to be Uzi. He’s the most eclectic in my opinion. He sent me some beats a year or so ago and I had like 5 or 6 on rotation for ages in the car - something I don’t do a lot. The next has to be Mind Circus.

His West Coast / Dre influenced stuff is the best here.

He has some lovely R&B / Neo-Soul joints too. AY has some really nice stuff that’s slightly more commercial sounding - but he’s got some dope R&B joints too.

LOCAL FLAVA’ | DHAD STORE

DHAD | A graffiti store in the heart of Jeddah

LOCAL FLAVA’ | DHAD STORE

Wednesday, December 18th 2013 DHAD family was so humble to welcome me into their store to socialize and to see what they are all about, up close and personal.

In a convivial atmosphere where graffiti artists gather, along with walk-ins and other creative individuals - who are passionate to learn about sketching and graffiti, I set up my mixer and started playing hip hop tracks.

The eye-popping graffiti on the walls of the store are so vivid that you could almost see them animate.

The eclectic wall of well-stored spraycans mimic large buttons moving along a wave of color.

DHAD is a great way to expand the minds of the youth and is a place where they can unleash their creativity.

Art has a strong status in Saudi Arabia and DHAD try to reflect the power and art behind graffiti, the techniques, the hard work and the flow of creativity.

LOCAL FLAVA’ | DHAD STORE

[FOLLOW DHAD] www.facebook.com/dhadstore Twitter @DhadStore Instagram @DhadStore

ALBUM RELEASE | ONE

L-FRESH THE LION | ONE “On this album, people can expect lyrics, heart, soul, passion, knowledge and hunger. They can expect to be moved and they expect to move. “One” is for those people who enjoy good music; for those who yearn for music that will make them feel.”

[FOLLOW L-FRESH THE LION] http://l-fresh.com/

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#MANDELA #RIPNelsonMandela #Sudan #cartoon Khalid AlBaih is a self-proclaimed artist, political cartoonist, illustrator, designer and a dislecsic writer... from the two countries of The Sudan.

Khartoon! is his social and political commentary on the Sudan, the region and the world.

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‘I won’ | #Syria #Iran #Iraq #flags #BasharAlAssad #victory #fail [FOLLOW KHARTOON] twitter.com/khalidalbaih instagram.com/khalidalbaih facebook.com/KhalidAlbaih flickr.com/photos/khalidalbaih Khartoon.tumblr.com

FEATURE | KHALID ALBAIH

[FOLLOW KHARTOON] twitter.com/khalidalbaih instagram.com/khalidalbaih facebook.com/KhalidAlbaih flickr.com/photos/khalidalbaih Khartoon.tumblr.com

Q&A KHARTOON!

Artist Khalid AlBaih is a self-proclaimed artist, a political cartoonist, illustrator, designer and a dislecsic writer. From the two countries of The Sudan.

Khartoon! is his social and political commentary on the Sudan, the region and the world.

Khartoon! is a clever play on words and so catchy!

How did you come up with it?

One of my closest friends came up with it while I was writing a cover letter to include with my work to a newspaper editor; he refused my work by the way.

What sparked your interest in art and design?

I guess it’s a natural, ever since I remember I loved to draw and to read comics.

How has it impacted your life?

Art and design did not impact my life, it is my life. It’s in everything that I do and everything that I want to continue doing.

”‫“إن اهلل جميل يحب اجلمال‬ .‫ وإمنا هي حديث شريف‬،‫ليست مجرد مقولة‬

What is the most memorable feedback or reaction someone ever gave you on one of your cartoons in person?

I piss a lot of people off so I get crazy reactions all the time. But, what hurt me most was not the death threats; it was someone asking me how much did the Americans and Israelis are paying me. That really made me angry!

What are your most esteemed accomplishments?

One of my cartoons graffitied in Tahrir prior to Mubarak’s fall and a Yamani activist group making a graphic I did their logo.

Does your Sudanese heritage always ignite your inspiration?

I’m still learning about the Sudanese rich history and heritage and it’s one of my goals to reflect that to the world and to the Sudanese youth themselves.

Has the western influences completed your creative approach to your illustrations?

I’m child of the internet age so the internet influenced not the west or the east. But in terms of style, I was always inspired by Palestinian cartoonist Naji Al Ali. Is there a community of artists in Sudan?

Huge! But none the less not really looked after or supported by the government. We have a few big international well-known artists like Ibrahim Alsalahi who is the only Arab/African artist to have a solo show in the Tate Modern in London; there is also Rahshid Diab and Hassan Mussa.

What was your first ever caricature?

Explain it briefly.

My first ‘political’ cartoon was in university during the student union election. The president didn’t like it but the students did, so I guess I was on the right track.

Your caricature style is simple yet very powerful. In your artwork, the word is silenced and the cartoon speaks for itself.

What is the role of visuals and graphics in our world today? And how efficient and imposing are your cartoons in picking people’s brains?

Visuals are what roles now online. However, on the internet, there is a lot of junk and people from all over the world see it. That’s why I try to make the images very striking so you take a minute and think about it before you scroll up. Cartoons are efficient because they reach the unreachable people who don’t read. Notice how people who are not in to politics always go to the last page for the cartoon and sports page?

Any plans to help start up or revive the creative and artistic side of Sudan, especially for the youth?

There are always plans...

Interview by Hanane FATHALLAH revoltmag1@gmail.com

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Khalid Albaih

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Photo credit @big_hass

R E V O LT / R E P O R T

eL SEED | Engaging Jeddah community with ‘Calligraffiti’ Under the scorching sun of the bride of the Red Sea, Tunisian calligraffiti artist eL Seed summons his concentration and passion, lets the spray paint flow along one of Al-Balad’s old building walls while guided by a well-thought sketch of curves, arabic heritage, colors and culture. At least nine stories high up in the air, he contentedly envisions the final aspect of the mural, and presents it as a respectful offering to the community. eL Seed believes that his art belongs to the people, once it is finished and indefinitely part of the wall or interface he tackles. Inspired by Arabic poets, he incorporates arabic calligraphy and graffiti, bringing a certain romance to street art. Derived from Ancient Greek, calligraphy means ‘beauty of writing’. eL Seed’s style is cultivated by both characteristics and is made unique by his undeniable passion for his work. Looking at his masterpices is as closely described as an instant escape to a kaleidoscope of curves, colors and inspirational words.

It comes as no surprise that the artist behind this vibrant perfected artwork is a humble person driven by passion for calligraffiti and for arabic culture. Re-volt magazine had the pleasure and privilege of meeting eL Seed, during his breaks, his chains of concentration and his work flow.

The formal meet and greet faded away as I joined eL Seed on the crane, and got - way above the ground up close & personal with his style, his drawing techniques and his vision. Perfection is achieved upon completion of that initial and much anticipated vision of the mural.

The sound of the spray can, the smell of fresh paint, the sights from above, the echoes of complete dedication and passion. Between humor and seriousness, eL Seed left a majestic imprint on Jeddah, a reason to appreciate and think about art and he evidently left the shadows of a persevering artist - where young calligraffiti and graffiti artists will find inspiration...

[FOLLOW EL SEED] Twitter @elseedart Instagram @elseed

Photo credit @big_hass

Photo credit @big_hass

FEATURE | Karim JABBARI // THE STREETS FESTIVAL

[FOLLOW KARIM JABBARI] Twitter @karim_jab Instagram @karim_jab www.madefromwords.com

Q&A | Karim JABBARI: Bringing the Streets to hometown 1. Kasserine is your hometown.

How important was it for you to organize Streets Festival there?

What affect did it have on your young compatriots?

For me it was extremely important to bring this festival to Kasserine. It’s my hometown. It’s the place where I was born and raised. After so long living in Montréal, and having had so many opportunities there to advance as an artist and creative person, I felt it was my duty to share some of this. In Kasserine, due to its history of social and economic neglect at the hands of Tunisia’s rulers, the youth here don’t have opportunities to engage with much art or culture from outside. The region is in many ways quite isolated from what goes on in the coastal regions - not to mention outside Tunisia. And now, exactly three years after the uprising against the Ben Ali regime, inequality

and oppression, it’s hard to see what Kasserine has gained for the part it played in the uprising and the many sacrifices it made: the region remains on the fringes of the political process going on in Tunis, and unemployment is sky high.

The youth, who has been so badly affected by all this, yet has such tremendous energy and creativity, just needed the chance to see that it is possible to turn that energy into something beautiful, something that expresses what they are living and dealing with. The artists that I invited for the festival are people who have succeeded in doing that.

As for the effect on Kasserine’s youth, I think it has been extremely positive. Many of the young people who helped me organize or document the festival told me that the experience changed their lives.

One young man, named Amine, told me that before Streets he spent most of his time at home, or surfing the internet. Then, he participated in one of the festival’s photo workshops

by Tamara Abdul Hadi, and also a beatmaking workshop by Sandhill,

and he says that now he’s discovered talents he didn’t even know he had, and has learned how to put them to use, with a camera, or a soundboard.

2. How challenging was it to put this event together? What are the highlights in your opinion?

It was a huge challenge to put this festival together. In the end, far more artists participated than I’d originally envisioned. It took enormous amounts of energy and patience on the part of my friends and family in Kasserine, as well as myself, to bring them all in, to supply them with the tools/supplies they needed, to make sure they were comfortable.

Moreover, Kasserine hasn’t seen an event like this before, so it didn’t really have the institutions or the specialists needed to handle the organization of the workshops, the performances, and all the logistics.

So it was a little messy in the first couple of days, but it came together with a lot of hard work and some luck.

It’s hard to say what the highlights were, because the festival itself was a highlight!

If I had to name some though, I would say that Medine’s concert & The Narcicyst’s concert were big moments that gave a lot of good energy. The Breakdance final competition was huge, filled with energy, and brought in a lot of local

talents from Kasserine who will now get the chance to perform abroad with the famous French Pokémon breakdance crew. Finally I would say that the beautiful graffiti murals created by Zepha from France, and Saile One from Chile, are also a highlight.

Those one will last, too, keeping the festival’s memory alive in Kasserine, which is important for me.

3. How vital is this type of events to small towns like Kasserine in reviving tourism via music and art?

I think Streets in the beginning of a process. Through it, we’ve begun to encourage local youth in their artistic and cultural pursuits. We’ve brought in some (limited) media attention to the area. We’ve shined a little light on the tremendous talents that exist

here, unknown to much of the world and much of Tunisia too. It’s my hope that the festival will continue on a yearly basis, and that it will become an event of national and international importance, and that in the years to come you will have fans of hip hop culture coming to Kasserine to witness the raw positive energy that is created when these talents and minds come together. It’s my hope that these fans and tourists will bring business with them, that they will patronize local businesses, and that the festival itself will provide employment opportunities for local youth in accommodating and providing services for these tourists.

I also think that now that the young artists in Kasserine have seen their own potential unleashed and know what they’re capable of, that in time they too will go on to become artists of international regard, and bring back still more media attention and business to Kasserine.

In the end, I think that Streets and events like it are very important for the local economy, We are, however, only at the beginning of a process of building and improvement.

Interview by Hassane DENNAOUI a.k.a. Big Hass Twitter @BIG_HASS revoltmag1@gmail.com

FEATURE | MAY ALQASIM

‫ميالقصيم‬

[FOLLOW MAY ALQASIM] www.reverbnation.com/mayalqasimofficialfanpage www.facebook.com/mayalqasimofficial www.mayalqasim.com Instagram @mayalqasimofficial www.youtube.com/mayalqasim

q&A | May alqasim How did you get introduced to the music world?

Believe it or not, I was singing before I could even talk! (I have videos to prove it). My mother would always sing me to sleep with these French lullabies and I remember watching a video of her on the phone outside a room where I was sitting on the intercom reiterating the song back to her in baby language. It was half funny and half shocking to see that I was actually in tune and on time. As the years grew on, music just surrounded my life. Be it, at home, at school or merely out with my friends. I joined all music festivals and choirs and just engrossed and surrounded myself in anything and everything to do with music. It wasn’t until I was 8 years old when my parents bought me my first keyboard.

I never knew how to play, nor had taken any classes but I would do this weird thing where I would sing and pretend to play the piano at the same time. Once this happened, I started turning my poetry into songs and playing the keys at the same time. This went on for years until I finally hit the professional scene at 13.

We know you play the piano. Any other instruments we should know about?

Since I studied music at school and at various academies, I was taught how to experiment with all types of instruments. Since the piano has every key that all instruments can play, It was really easy to pick up on different instruments such as the guitar, the violin, various woodwind instruments and even drums (yes, drums have notes too!). I never really adopted any other instrument as much as the piano, to be honest. But I appreciate all kinds and love all of them, especially the more eccentric ones.

Who were your inspirations growing up?

That’s easy. My parents! They were the ones who put me in a musical atmosphere since birth. My mother used to be in a band and has an incredible voice. My father on the other hand has one of the nicest Arabic singing voices I have heard! They never really took it seriously but they don’t realize the impact they have on my siblings (who are also musicians) and myself alike.

You were signed to DJ Outlaw , how has that experience shaped who you are now?

Although I have moved on from that right now, it was an interesting journey and a big part of my life at some point. It shaped me as a musician and person because I was working long hours at a young age, in a very powerful environment. At the beginning my reaction was ...

“Uh-Oh”. However, with time, I found myself opening new gates into the music world. I experienced what it was like to work with different musicians, genres, characters and circumstances. Along the way I was part of a debut album and was featured on multiple EP’S. I also

FEATURE | MAY ALQASIM

made a lot of good contacts and friends along the way in different parts of the world. I shared the stage with some phenomenal musicians- both local and international. It was a little petrifying at times, since I was so young but I have to admit, fear is what makes you push yourself to greater heights. It was the good kind of fear- the kind that made you really feel like you were alive as opposed to merely living. I was young and vulnerable. Still in school and not as confident as one would like to be. But this experience quickly changed all of that. At a certain point things got more serious than I expected. I found myself collaborating and working along side some big names (Like roc nation and Jennifer Hudson – just to name a few). I never intended for it to happen (and that is not what I’m making music for at all), but it did thanks to hard work, facing fear and the strong belief in myself...

The strong belief in the power of music.

As an artist based in Bahrain, how do you see the support of local artists there?

I have to be completely frank; it is not easy whatsoever.

With no disrespect to my community nor towards my culture, of course- we just aren’t really given priority and not taken as seriously as we should be. It gets notoriously frustrating to realize music is a universal language, and have you underappreciated. We can move people, move energy- make people feel a certain way or make a change. We spread messages, feelings, and thoughts and can provoke changes with how we do it. I really do not condone all of this commercial music that ruin it for real artists actually speaking something and not just saying NOTHING. It’s powerful and I may come off as a preacher but if you think about it, is it not true?

On that same notion, as a girl living in the Middle East it is even tougher. I have to be extremely careful with what I do, say and act. In that same sense it’s also difficult to be an Arab/Muslim girl who sings in English when not many do it in the limelight at all. I’m not here for the fame, or money, or even just to sing just for fun. I’m trying to create a portal for empathy- the themes of growing up, the struggles every human go through in a transitional period and at the same time try breaking that barrier between the western and eastern world. We have to encourage each other. A lot of people don’t even start because they don’t see the point and feel discouraged to even try. I don’t blame them!

There’s so much hidden talent- real talent. It has become a lot better now but my one wish is for everyone to support one another. It may seem farfetched but I’m trying to unlock those doors and have other people walk in freely, especially you girls. So please, come through, join me!

You have faced a great challenge in your young life & that was an eating disorder. Tell us more about that?

And how did that challenge was able to shape up the person/artist you are today?

I don’t really know how to start- or how to put this lightly. The one thing I do know, though, is that I have to expose myself and be vulnerable right now so that I spread awareness for females (and males, believe it or not). This is a serious matter and happens to so many people and unfortunately oppressed in this part of the world. This is because in our culture, it is not really understood- we live around food. What people fail to realize (and it is not their fault, please don’t get me wrong) is that an eating disorder has NOTHING to do with food at all. I like to explain the reason in this simple way. When you lose control over all external variables in your life, and things aren’t really in your hands- the onething you do control is what goes in and out of your body. That is always in your hands. It goes down to biology. You have to give nutrition to plants to allow then to grow and be healthy. Even the trees have control over how far they grow their roots down to find water.

This is what happened to me: When I was younger, I was very badly abused by a house made that we had. She did some awful things like broke my nose, fingers, pulled my hair and beat me to a pulp.

She was so good at hiding it with make up and all these tricks. My parents were so hard working but they were around – I was just too afraid to tell them and just made up random excuses. “I fell”, “I tripped”, “I was playing” – I would say. I did all the dishes, laundry and the work that she was paid to do while she would sit there and gloat at herself. I didn’t understand how a human could be so cruel. Normal children would love an excuse not to go to school. It was a blessing for me. Finally at some point I conjured up the guts to tell my parents after around 5 years of this going on every day. There were things she did to me that were unspeakable. My parents were more than flabbergasted and destroyed- She was out. Out, gone, forgotten and out of sight, mind and soul.

In my early teenage years I found myself becoming a big bully. I was angry, subconsciously hurting people before I could get hurt. I experienced more abuse by more people and situations... and that made me get angrier. And So I hid... And I got busy with work and just sheltered myself with a heavy routine. I worked so hard I didn’t ever have a minute for myself to reflect on life. Now I realize that this was a formula for me to repress this into the deepest part of my mind. It wasn’t until I was 19 years old... I was casually walking down the stairs and slipped...

In such a silly way I can’t help but to think maybe it was for the best. I broke my tailbone- snapped in two places

FEATURE | MAY ALQASIM

in a really strange way. It was as if God was saying “if you won’t sit down and face the demons, l make it happen for your own good” . The doctors said that there was nothing they could do. They gave me a donut pillow and prescribed me so many pain killers.

I had nothing. No university, gym (I was obese before), aerobics, studio, going out, climbing the stairs- nothing. I was alone with my thoughts – and those demons woke up and slowly started to surface.

At this point I stopped eating and I couldn’t sleep right. I didn’t know if it was easier to live with a nightmare than to sleep with one.

Now – the control I was talking about? Gone. I couldn’t even digest food and I slipped into a depressed state.

Then bulimia happened. I needed the control and I blamed myself. Luckily my family realized I was in a terrible place and helped me seek help. I saw so many doctors that made situations worse! I dropped to 32KG from 60 in under 7 months. It got to a point where doctors said I was not going to make it.

For me, that was a challenge. I finally had to leave. With the help of my family I found somebody outside Bahrain that actually knew how to treat the cause and not just sedate the symptom. I fought.

And I’ll tell you- it was the best thing that ever happened to me because now I can actually see color and appreciate life for what it is and what it could be.

Please don’t take this lightly. If you or anybody you know could be facing this- get help immediately. It is a life or

death situation. It can happen to anyone, any time for so many different reasons. This is just my story. I’m strong now. Don’t be afraid- speak out... even if your voice shakes.

Any collabos in the pipeline we should know about?

I can’t say much as of now. But what I can say is that I am working on some big things behind the scenes right now and pretty soon I will be based in AbuDhabi where I will have some new projects to share.

Many new things coming and I appreciate the patience from all of my supporters. I do, however have a new single coming out really soon so stay tuned for that! It’s called “Monster”.

Tell Re-Volt Magazine something not a lot of people know about you?

I am absolutely crazy about cooking and the culinary art.

When I’m not making music, I’m creating new dishes and having everyone try it. It’s so meditating and fun! I can’t understand how people don’t like to cook! But that’s just me! I would like to thank my friends, family and supporters for staying by my side through the good and the bad.

Mad respect, love and blessing go out to you all.

Last but definitely not least (I know I wasn’t asked to blab at the end but...This is important!), I would like to give out a big, sincere thank you to RE-VOLT magazine and Big Hass for giving me an opportunity for this interview. It is highly appreciated and I am very proud to have this outlet available. Salute!

ALBUM RELEASE | FREE

FREE | JABBAR, TALA & DJ SOMALIE To purchase the song AND support click HERE: https://itunes.apple.com/us/album/free-feat.-tala/id899658082?i=899658102

ON THE GO | Q&A JABBAR

1. In July’14.You released “Free” - A track that is addressing situation in Gaza. How is Hip-Hop helping you express yourself?

Hip-Hop has always been a tool to communicate my thoughts. It allows me to express myself on many different levels: political, social, and emotional. It’s a great way for me to disconnect from everyday life and do something I feel very passionate about. The thing is I don’t only rap, I also produce which is also another form of expression entirely. Sometimes though, because of my views on certain topics, I cannot approach people and discuss such topics as they can be polarizing topics.

Through Hip-Hop, I am able to express my point of view to people who typically wouldn’t care about such a topic or may not be as knowledgeable. This is a great way to create awareness about topics that aren’t well-known, widely discussed or are polarizing, especially here in the US. Historically Hip-Hop has been a weapon to fight oppression or speak up about injustice; see NWA, Dead Prez, Public Enemy to name a few. Bottom line is, if it’s good quality music with a political or social message, it’s what I like to call educational entertainment.

2. What has been the feedback so far?

It’s been very positive. When I first released it, it picked up steam, but I did not promote it heavily because at that point it could only be streamed off of SoundCloud.

When initially released on there, it managed to get over 500 plays with minimal promotion. After releasing it on iTunes, I’ve launched a media campaign to promote it through social media and have received a little bit of media coverage. Hopefully we can ride that momentum to generate enough money to donate to the PCRF to make a difference in at least one child’s life.

3. I understand the track is now available to be purchased on iTunes (All proceeds will be donated to the PCRF) - Salute for that. Do you think this will get support from Commercial Media?

To be honest, it’d be great, but I won’t lose sleep if it doesn’t. I don’t expect it to. Just look at how the media is currently covering Gaza on a global level. With every news report that comes out, there’s a certain agenda being pushed. The Gaza coverage has been amplified mostly due to social media. So although commercial media would be appreciated in terms of support, I am not relying on them to actually cover it or promote it as much, due to the nature of the issue. With or without commercial media, I will continue to push out music that’s real whether they will promote it or not. I am trying to help out kids in need in Palestine, they are trying to push propaganda and I refuse to be a part of that.

4. A Word from you to Re-Volt Magazine readers I would greatly appreciate if you give the song a listen.

If you enjoy it, you can purchase it as it will go towards a good cause. Also, please share it with people who feel strongly about the cause and would enjoy it as well.

Word of mouth is all we have these days when the media is so tightly controlled. It’s on us, the PEOPLE to stand up for our brothers and sisters when they face such brutal oppression not only in Palestine, but on a regional AND global level. I will leave you with one of my favorite quotes of all times by Desmond Tutu: “If you are neutral in situations of injustice, you have chosen the side of the oppressor.”

Finally, thanks for the support to Re-Volt Radio and Magazine. I greatly appreciate the opportunity to get my message out. Much love! Free Palestine! Free Gaza!

ALBUM RELEASE | El Nargisee

THE NARCICYST | EL NARGISEE

{ALBUM ARTWORK} The Narcicyst El Nargisee All Arabic EP Produced by Sandhill Buy The Album from here: http://narcy.bandcamp.com/album/nargisee Itunes: https://itunes.apple.com/us/album/nargisee/id903957289

ALBUM RELEASE | El Nargisee

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Visit our store to learn more about our Apple products and Accessories Or visit our website for more.

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MUSLIM POWER

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What inspired you to launch Muslim Power 30?

Would this be the only publication?

I created this list for the sake of Allah, to show the world that we are making superb moves for our Ummah. There is so much negativity in the world I wanted to be the one to shed some light on what we do to help individuals kill their “egos� and realize that we all are working towards the same goal this will be a yearly magazine, but i will be traveling and meeting gathering stories on individuals that are doing great work and throughout the year I will trying to meet others and help them share their stokes, so the magazine will be once a year but the work and the gathering of information will be year long Hajji Hassan

2014

MUSLIMPOWER30 meet 30 muslims, from all walks of life, making moves to impact society and serve humanity

editor’s note

I have created this compilation of professional, creative, hardworking, and spiritual Muslims in an effort to spread love and positivity. I hope these features inspire everyone to be remarkable everyday.

We should always reach for the impossible because the possiblities to help humanity are limitless.

HASSAN “HAZALI” ABDUS-SALAAM

18 jennifer layla abdullah

is a mother, wife, student, and full time RN. She studied Quran under the provision of Shaykh Hassan Aliou Cisse and is now saving lives daily at Sentara Norfolk General Hospital in Virginia.

17 sukina pilgrim

is one of the most influential Muslim woman of our time. She is married to rapper/poet Mohammed Yahya. Her words liberate woman across the globe. Her energy illuminates any room, and her passion for humanity is unmatched. She is currently in Senegal, West Africa studying. She recently came off of a multi-city tour with her group Poetic Pilgrimage.

16 nadira abdul quddus

popular vlogger promoting modest Islamic fashion. Over 10,000 subscribers tune-in to her Youtube channel to watch various DIY tutorials with a modern, modest edge. Subscribe to Nadira037 on Youtube.

15 rasul miller

is a modern day renaissance man and an African American culture enthusiast. He is currently pursuing a PhD at the University of Pennsylvania and is basing his thesis on Islam in America. He is the husband of Samiha Rahman, and is motivation to us all and a reminder that all knowledge comes from Allah.

14 mohammed yahya

is one half of the London based supergroup, Native Sun. His words and energy inspire people of many demographics. He is frequently on tour in countries such as Mexico, Sudan, Morocco, Germany and all over the United States. He is currently in the process of coming back to the United States for shows in May. Website: nativesunmuzik.com

13 sumayya ali

is an actress, opera singer, songwriter, daughter, and mother of a three year-old beautiful girl. She has a wonderful spirit, is changing lives, and is making her mark in history. Sumayya is also currently on the “Porgy and Bess� tour.

[FOLLOW JUSTIN BUA] Twitter @JustinBUA

R E V O LT / R E P O R T

cohesion between punk rock movement and hip-hop movement because they are very anti-establishment, there are counter cultural, they are actually against the grain counter cultural movements. One can even argue that Hip-Hop is the status quo, there’s nothing more status quo of than Hip-Hop, when Eminem gets on the radio and sings with Rihanna , he is the status quo, he is what’s popular, he is obviously generating a tremendous amount of revenue and income from his music and he is being played on the top. But, would you consider Eminem Hip-Hop? I talked to ICE-T, Run DMC & Melle Mel and they’ve said that he’s a legitimate hip-hop pioneer. It’s a very hard line to walk and one can not define it ; but what you can say though is that the manufacturing of Hip-Hop (Eminem on a Rihanna song, etc..) and you are creating it for the purpose of making money, so it’s not originating with the social and meaningful origins.

It’s just kind of coming from an origin of capitalist with an intention to make money. When I was growing, we couldn’t do that because there was no money to be made!...(Laughs) and that’s why break-dancing is part of hip-hop. Dancing because you’re not making as much money is always going to be more underground , it will always be raw, you can not monetize it that easily.

What got you into Hip-Hop culture?

Nothing really got me into it because I was kind of there.

It was the consequence of my surroundings, Just growing up in NY city being from the upper west side, I started a block away from Rock Steady Park, which is where some of the best and first BBOYS were dancing. I was by default in the game, whatever was going on, I was a part of it.

What’s your view on Underground and Commercial Hip-Hop? That’s a hard thing. It’s always changing. Take LORD , she was an indie start, the radio got a hold of her, she is now a Pop Star. The same thing can be said about the Rolling Stones and the Beatles . The fault is not really on the groups that are going for mainstream. That is not an indicator of what hip-hop is and hip-hop is not; but I think the real energetic spirit of hip-hop is a very subversive, irreverent movement that is rebelling against the status quo, so in a lot of ways there is a fundamental

Your style is distorted urban realism. What does that mean?

Distorted realism changed to urban realism and keeps going back and forth. My work is so stylized: a stylized interpretation of the world. It’s a predecimal lense that I see the world through it. It is stylized, it is enhanced and exagerated and I think that’s a direct result of the world I am from.

Tell us about your book “The Beat of Urban Art”?

The Beat of Urban Art is basically kind of synopsis and story of my life. It takes you on a journey of my turbulent youth through the hip-hop culture before it was called “hip-hop”, when it was just a growing cultural phenomena and how I witnessed it by portraying it in my work, it became part of my world and many people’s worlds.

Interview by Hassane DENNAOUI a.k.a. BIG HASS revoltmag1@gmail.com

2013 Š re-volt magazine

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Free Palestine Concert | American University of Beirut - Lebanon | May 2010

Lowkey | A virtuous Flow 1_ Tell me the process of releasing “Soundtrack To The Struggle” ?

Well, really it just came to the stage where it’s the second album I released; the first album I released was in 2008. But now it is at the stage where I am privileged to have more people listen to my music now more than I did in 2008 and people kept asking for more stuff.

2_ How does Hip Hop help you spread awareness?

Its important to understand that Hip Hop really has the power to speak for people who feel voiceless, to provide a way for the most

downtrodden ignored despised person to speak to the wealthy person and also it has the power to humanize the dehumanized.

We need equality in the world and Hip Hop, as a tool, it can legitimize the illegitimate.

3_ How far are you willing to go with your music and spread the message?

It’s important to understand that we are now at a stage where we don’t have to sign over our masters, our publishers, our mechanizers to these big major labels who monopolize expression. For example, going all the way back to people in the group Public Enemy, there was a man named Professor Griff who spoke of the suffering of the Palestinian people and was FORCED OUT of the group! Reason: The head of Def Jam at the time had certain political interests, which went against the

Palestinian people. I am in a position now where I believe I can be entirely independent, can be successful, can be heard and can live of what I do - being entirely independent and not allowing my voice to be used by somebody else or by people that dont have my best interest at heart 4_ The track “Long Live Palestine” was top at Hip Hop download charts on ITunes up against artists like 50 cent, Eminem, Black Eyed Peas .. Tell us about this track ?

One of the Israeli assault operations left 1,400 dead at the end of 2009.

They used white phosphorus, which is illegal in international law.

During that time, there were alot of demonstrations here in London!

I spoke at one of the demonstrations when originally it was just a poem.

That poem was written out of frustration and something I wanted to say about what was going on.

s p o t f . y . i .

Ruben SANCHEZ Spanish Street Artist www.iamrubensanchez.com Leaving his mark on the streets of Jumeirah Beach Road, UAE

s p o t f . y . i .

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[FOLLOW L-FRESH THE LION]

http://l-fresh.com/

L-FRESH THE LION: A STRONG BELIEVER IN HIP HOP

“The name L-FRESH The LION has two stories. When I first started rhyming, a friend of mine said I was a Fresh MC. So I thought about what the word “Fresh” meant to me. I gave it my own definition and broke it down as an acronym: Forever Rising Exceeding Sudden Hardships. For me it is about overcoming, surpassing and rising to be the best that I can be. The LION was a name that was also given to me. But it was given to me at birth. My people (Sikhs) give females the middle name Kaur (Princess/Royalty) and males get given the middle name Singh (Lion). I felt it was only right to combine both of those elements into a single name, as I take on board a combination of Hip Hop culture and the roots of my people.”

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You are a big believer in the essence of Hip-Hop culture. Where do you see the state of Hip-Hop now?

Hip Hop is always growing and changing. Since its roots in the 1970s, it has become a global culture, something that people from all over the world identify with. Each country and/or region has introduced its own uniqueness to the culture. It’s become a way for us to communicate across national boundaries. It is a universal language that continues to bring people together. I’m inspired by seeing the growth of Hip Hop globally. I’m even more inspired by seeing the continual impact is has on global, national and community affairs.

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How was meeting KRS One? It was a great experience. He had a lot of knowledge to share. I learnt a lot from hearing him speak and watching him perform. He is a Hip Hop legend.

What’s your take on record labels? Are you signed?

We are in an age where the artist must recognize their own power. I think the relationship between a record label and an individual artist is very important. It must be

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a partnership in the true sense of the word. Both must be aiming for the same goals and working in alignment with one another. If both parties have separate interests, then it can be a real challenge with very little chance of there being a positive outcome.

I’m currently signed to a one-album development record deal with Vienna People Recordings here in Australia.

My album is due to be released in early March.

Who is L-FRESH listening to recently?

I’m listening to Australian artists Jimblah and Remi.

I’m also listening to Dead Prez after having just been on tour with them in Australia

You founded an online clothing community called the “Power To The Peaceful Community” What do you hope to achieve by starting project?

Power To The Peaceful Community is an extension of a universal philosophy that resonates with many people all over the world. There are people everywhere who want to see the end of conflict, violence and oppression. Those same people wish for peace, love, unity and a space where we can have fun as equals. I see Power To The Peaceful Community as a way to continue to bring people together outside of my music. People can express their thoughts and ideas in the clothes they wear. The Power To The Peaceful Community shirts represent that collective yearning for positive change.

What inspired you to get into Hip Hop? Story telling. I loved the way in which MCs expressed their stories over music. The raw energy, passion and emotion drew me into the genre of hip-hop music.

Through hip-hop music, I was introduced to Hip Hop culture and instantly recognised how powerful Hip Hop is as a means of self-empowerment. It has a way of bringing out the best in people. As we master our skills, we are constantly improving ourselves as human beings.

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Buy the song Faithful on iTunes Interview by Hassane DENNAOUI a.k.a. Big Hass revoltmag1@gmail.com Twitter @BIG_HASS

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[FOLLOW SUNDUS ABDUL HADI] Twitter @SundusAH

The Forgotten by Sundus Abdul Hadi The text in the painting reads the lyrics of a traditional Iraqi folk song: “Those who have forgotten us, when will you remember us? When will we cross your mind? When will you help our situation? Love, you have left us with no explanation; You shut the doors in our face and abandoned us. Where did you come from on the day you set your eyes on us? Where did you find us?

Your eyes have scarred us. You who have forgotten us, when will you remember us?�

F E A T U R E

[FOLLOW ETERNIA] Twitter @therealEternia

ETERNIA | The cutting-edge female MC Two time Juno-nominated and widely considered one of Canada’s foremost lyricists, Eternia continues to knock down barriers & trail-blaze across the globe for Canadian Hip Hop music.

Eternia has toured extensively in Canada, the United States, Mexico, Australia, & Europe; those that are lucky enough to catch her on stage credit her as one of the best live performers they have witnessed. She has been billed with superstars such as Nas, Damian Marley,Wu-tang Clan, Missy, Snoop Dogg, Big Daddy Kane, Pete Rock & CL Smooth, EPMD, KRS One, Common, Joell Ortiz, Blackthought, Pharoahe Monch, Black Sheep, Immortal Technique, MC Lyte, Ras Kass, Ice-T, Jay Electronica, Bahamadia, Roxanne Shante, Necro, Saukrates, Jully Black & many more.

In 2010, Eternia released her 5th full-length recording on Fat Beats Records with “DJ Premier affiliated Canadian super-producer MoSS” (NOW Magazine).The Juno-nominated “AT LAST” was met with critical acclaim, featured guest appearances by some of Hip Hop’s elite - Ras Kass, Rah Digga, Lady of Rage, Jean Grae, Joell Ortiz,Termanology, Reef the Lost Cauze & more – and was named one of the Top 25 Albums of 2010 by the legendary DJ Premier.

From The Source Magazine to Hot 97, from the NY Daily News to NPR, from Toronto to Berlin, from NXNW to SXSW, from the Juno Awards to Paid Dues: 2011 is undeniably the year of Eternia... AT LAST. 2010:The Year of “AT LAST”

What inspired you to get into Hip-Hop at such an early age?

It was just a natural progression, no decision.

But inspiration? My brother is 2 years older, so when I was around 8, he was listening to NWA, 2 Live Crew, PE, LL Cool J, Run DMC, stuff that a white kid in Canada could get his hands on at the time. That was how the seed was planted. I was rapping since around then, but started writing my own lyrics and coppin’ my own music around 4 years later; the Native Tongues era…

The rest is history.

I believe there are a lot of female Hip-Hop artists in the scene; but no much coverage?

Do you agree and if so why?

Yes to both points. It’s hard to say why but we can theorize, which I hesitate to do. It’s likely due to a complex intersection of a bunch of different factors, from the boys club mentality, to the professionalism of the artists, to the quality of the music, to what people find ‘newsworthy’ and to what audience the media is catering to...

The list goes on and on. I mean, it’s never just one thing you know? I think what is important to note is female emcees are not rare.

We are and have been...EVERYWHERE! At every rap show. Honest. It’s the case at least in North America, now. What happens after that is your guess as good as mine.

Take us through your writing process? Especially that the topics you write about that are important to Humanity, women’s rights?

My writing process has changed a lot over the years.

I used to hide myself up in a bathroom to write, if I was in a room full of folks in a studio session. I hated writing around people. Now I love movement (trains, buses, planes, walking) and activity around me when I write. The movement around me I find helps move my thoughts. I used to write in a rhyme book, I still have those, but I also love writing in my droid cell now.

I find my rhyme patterns totally changes depending on the medium I’m using to write.

About the content, well, my ‘rough drafts’ of concepts are actually conversations I have with friends, ideas from books I’ve read, wisdom I’ve heard, universal spiritual truths that make sense of life experiences. I’ll chop it up with my friends, have clarifying conversations, and then, once I think I’ve wrapped my head around an idea, I would write it all down in a verse or song in one take, no edits. It marinates in my head and convo for weeks or months, than when it’s ripe the fruit is ready and I finally write it down.

Your thoughts on Hip-Hop now-a-days?

I don’t listen to much hip-hop. Straight up. I’m out of the loop on purpose. However, I am around friends that listen to a lot: djs, collectors, aficionados, so I’m kinda blessed and lazy when it comes to music hunting.They will all play me stuff that’s dope, and if I really really like it I’ll make sure I get my own copy.

Why do you think there’s no balance on radio/tv especially when it comes to music?

Aw man. Lots of reasons. People that run commercial tv/ radio are really caring more about quarterly returns, not quality of music they play. It’s a business, not art.

Also a lot of PD’s lack courage, they’re followers and think they know what people wanna hear. They do have good taste themselves, but feel pressure to play what they think they’re expected to play. I dunno man. It’s one of those things where once a dope artist proves that music that is reflective, intelligent, has depth can still be mass consumed (ie. Jill Scott, Erykah Badu, Mos Def, back in the day, most recently Shad in Canada...)

Then all the PD’s jump on board u know?

Photo credit Joscelyn Tarbox

Photo credit Jason Rodriguez

formed and people come together. At least, I do my best to make music that way. I think music is more powerful when there’s organic friendship and history to a song.

Is Radio Play as important as before?

Not traditional commercial radio play, but definitely how people listen to music - whether that be satellite radio, or a pandora, or youtube, or another source. I notice a lot of mainstream major label artists investing in a lot of advertising and promo on online music sites, you know even Vevo. There’s promotions for Twitter feeds, etc...

It’s happening just in a different way than before.

The market is being monetized and quantified. If it’s not a number of spins, its a number of youtube views.

Your intensity & passion on stage is inspirational.

Where do you get it from?

That’s God given :) I like a good show to meditation.

I’m completely at peace, in the present and there is not a thought in my head beyond what I am doing in that second: mic and audience. it’s an amazing feeling.

What is your message to the female artists getting into the music industry?

Know yourself.

Know your boundaries.

Know what makes you comfortable or uncomfortable, what you will and won’t do and be, before someone else comes along and tries to define it for you.

I don’t think I reached the highest height of success musically there is, but I did reach all of my personal goals.

That’s success to me, and a big part of that was knowing when to take advice, and when to stand my ground. knowing myself basically.

Do you remember the first Hip-Hop track you heard?

Hmm... I don’t know which was the very very first. But Full Force/UTFO - Roxanne Roxanne is an early early memory.

A message to Re-Volt Magazine readers?

Thank you for walking with me on my journey.

And if this is your first time hearing of me, thank you for taking the time to get to know me in this article.

TheRealEternia.com is a great place to get to know me more...

What are you currently working on?

A life outside of the music industry *smiles* Nah but f ’real, that’s true! I have other callings, interests and passions and talents that I’m nurturing right now.

I need a new challenge and so I challenged myself outside of the music industry. I think I will always make music when the Spirit moves me, but I’m not interested in releasing projects in order to scramble to get my bills paid, anymore - if that makes sense. It’s complimentary or supplementary to other things I am doing in my life.

I still come when called, like Superwoman ;-) Ha When are we going to see you collaborate with an Arabic Hip-Hop Artist?

I’m pretty sure I have! I’ve done so many collabs, I can’t even honestly keep track of them all, there’s no way I haven’t! But that being said, being that I’ve taken more of a relaxed approach to music making these days, my answer is: when they ask :) My approach to music making is very organic. I don’t go looking for this or that puzzle piece, things just happen as naturally as friendships are

Photo by Jason Rodriguez | Artwork by Chikolaev

‫مونا مون‬

[FOLLOW MOONA MOON] For more poems http://moonamoon.jimdo.com/

BEATING POETRY | Q&A MOONA MOON

Q&A Moona MOON Moona Moon, a Berlin-based writer, who started performing in 2012. A nurse and social pedagogue. A kanaktivist and HipHop Phd-student/-scholar. A lover of light, life, and the right kinds of shadows. A life-long learner.

Most of her work is centered around her experience as a Brown Muslim Femme. She started writing at age 7, when she thought the world might be interested in a book about dwarves; it was never finished. Nevertheless, in April 2012 one of her poems was published in freitext: Kultur- und Gesellschaftsmagazin.

Her most regular spot would be Ink Deep here in Berlin (every 2nd and 4th Thursday of the month. Google and don’t miss). Another one of her poems made it on their first anniversary celebration sampler in 2012.

1. What inspired you to write poetry?

I guess I have always used writing as way to digest, compute, and reflect even back when I didn’t know that that’s what I was doing and didn’t have these particular words to describe it. I started keeping diaries as a small kid. Pretty much everything that captured my interest or thinking at 9 years of age went in there. This is something I still do.

It was in those diaries that at some point I started fiddling around with rhyming entries, which gradually evolved into first poems. So, I wouldn’t say that there was this one specific event, which kicked it off for me, but rather that it was a process; a kind of growing into writing poetry.

While I’ve been writing for quite a long time, I’ve only started performing about three years ago. My first performance was here in Berlin alongside one of the best poet-scholars that I know – Mark Gonzales. I guess, everybody, who knows his art can imagine that I was excited and nervous like a wreck at the same time.

2. How are Hip Hop and Poetry related?

First, I’d like to start my response by saying that in my eyes, the distinction between Hip Hop and poetry is not necessarily a valid one. Spoken Word is poetry. Rap is poetry. The many forms in which being or living Hip Hop manifest themselves are poetic. I might not like or agree with all of these poetic manifestations, but I have to and do acknowledge them as poetic. So yeah, there is a very strong and deep relationship between what one might call poetry and this massive, many-branched, metaphorical tree that is “Hip Hop-culture”. A reciprocal relationship where one can be an expression of the other. The rhyming couplets of the West African Griot traditions and “Black Consciousness”-poetry like Jil Scott-Heron’s or Amiri Baraka’s are but two examples for ways in which

poetry has had an influence. And agreeing with other artists/scholars, I would add the Qur’an to this short list of examples. I lack the personal experience, but from what I’ve heard and read this connection between poetry and Hip Hop is much more acknowledged in the USA for example, than it is here in Germany.

So, the way I experienced it, it was either testosteronehyper-masculinity-ladden ciphers for guys, who wanted to rap or kinda high-brow poetry recitals. However,I couldn’t say, whether it was really like that say here in Berlin back in the 90’s or whether it’s just my impression from growing up in a rather small city. But from where I’m sitting, that started to change over the last couple of years and depending on your location in Germany you will find spots and events where poetry and Hip Hop are re/connected. One example for this development is “Ink Deep”, a somewhat regular Poetry Jam here in Berlin.

SHOUTOUT and SHUKRAN to the great individuals who brought this space to life at Said’s NoNameBar!

BEATING POETRY | WRITER’S BLOCK

Moona Moon | Photo credit LMNZ

“Writer’s Block”

by Moona Moon With a shoutout to LB. Welcome to Writer’s Block Paper and Pen that’s all we got To share our stories and our thoughts Getting together connecting the dots Where every line just adds to the plot Of shedding light on our souls that most Gods forgot This the multiverse inside I unlock The moment I step into cypher on Writer’s Block Welcome to Writer’s Block Where most of the news is actually hot Not always painting us as who we are not But reflecting the love that can be Hip Hop In perfecting our words, colours, samples, the lock, and the pop I’ve declared this space my home right on the spot Despite inner struggles we certainly got But the good life starts write here On writer’s block.

s p o t f . y . i .

ASHEKMAN Street Artists 5mx2m Arabic calligraffiti featuring Feyrouz “Min Kalbi Salamonn li Beirut” - ‫ فيروز‬- ”‫”من قلبي سالم لبيروت‬ https://www.facebook.com/ASHEKMAN Twitter @ASHEKMAN Instagram @ASHEKMAN

s p o t f . y . i .

ON THE GO | Q&A CHALI2NA

Exclusive Q&A// CHALI2NA

ON THE GO | Q&A CHALI2NA

You have travelled across the world doing your art.

How does that make you feel?

Chali: Blessed. The opportunity to travel in your mind is definitely possible but not probable, so to be able in my older age to actually see the places that I read about or see my favourite entertainers.

I feel blessed.

What was your most memorable gig/event and why?

Chali: I’ve had several in my time and I am grateful for those times. But I think the most recent, I got the chance to travel to Istanbul and make “Ishaa Prayer” in the Blue Mosque; that was amazing. That was the closest I got to the Middle East.

There is no balance in the radio world: it’s all about escaping and not a lot of real issues get discussed.

What are your thoughts on that?

Chali: I can agree that there is an unbalanced focus on what’s superficial as opposed to looking at everything from a balanced perspective. Music can facilitate answers, it can facilitate situations that provoke questions that can bring about the answers that you might need amongst your community, amongst the people that you dealing with. It’s a bunch of different things that music can do, other than “help” you escape; and so I say, expose that aspect as well in an even fashion and “We are cool”.

We should moderate how we listen to music because alot of it would take our minds away from what’s most important.

How did Hip-Hop change your life?

Chali: To be honest, Hip Hop exposed me to Islam in a way that made me understand how to participate, how to practise on a daily basis. Hip Hop took me away from the streets of Chicago and LA, and gave me a creative outlet so that I wouldn’t have to chase behind some of the guys who were doing things producing monetary things but wasn’t producing for your spirit.

What does your faith mean to you personally and culturally?

Chali: For me, it’s a live transaction that helps me from a discipline perspective live. I know and understand that the most important relationship that I have is with God. We are all in orbit around the creator: I respect that to the maximum and I feel that being in tune with that is like being a well round watch; it does its part.

I appreciate Allah for creating these situations that all fit together..if man would only just recognize that we should connect instead of disconnect.

Excerpt from interview with Hass DENNAOUI on “LAISH HIP HOP” 21st December 2013

‫رفيف زيادة‬

BEATING POETRY | RAFEED ZIADAH

[FOLLOW RAFEEF ZIADAH] @RafeefZiadah

WE TEACH LIFE, SIR!

RAFEEF ZIADAH | Performance Poet and Activist Rafeef is a Palestinian performance poet and human rights activist based in London.

Her performances of poems like ‘We Teach Life, Sir’ and ‘Shades of Anger’ went viral online within days of their release. She received an Ontario Arts Council Grant from the Word of Mouth programme to create her debut spoken-word album Hadeel. Since releasing her album, she has toured many countries, performing poetry and conducting workshops. She was chosen to represent Palestine at the South Bank center Poets Olympiad in 2012.

“Today, my body was a TV’d massacre.

Today, my body was a TV’d massacre that had to fit into sound-bites and word limits.

How about you give us a story of a woman in Gaza who needs medication?

How about you?

Do you have enough bone-broken limbs to cover the sun?

Today, my body was a TV’d massacre that had to fit into sound-bites and word limits filled enough with statistics to counter measured response.

And I perfected my English and I learned my UN resolutions.

But still, he asked me, Ms. Ziadah, don’t you think that everything would be resolved if you would just stop teaching so much hatred to your children?

Hand me over your dead and give me the list of their names in one thousand two hundred word limits.

Today, my body was a TV’d massacre that had to fit into sound-bites and word limits and move those that are desensitized to terrorist blood.

But they felt sorry.

They felt sorry for the cattle over Gaza.

Pause.

I look inside of me for strength to be patient but patience is not at the tip of my tongue as the bombs drop over Gaza.

Patience has just escaped me.

Pause. Smile.

We teach life, sir.

So, I give them UN resolutions and statistics and we condemn and we deplore and we reject.

And these are not two equal sides: occupier and occupied.

And a hundred dead, two hundred dead, and a thousand dead.

And between that, war crime and massacre, I vent out words and smile “not exotic”, “not terrorist”.

Rafeef, remember to smile.

And I recount, I recount a hundred dead, a thousand dead.

Pause.

We teach life, sir.

We Palestinians teach life after they have occupied the last sky.

We teach life after they have built their settlements and apartheid walls, after the last skies.

Is anyone out there?

Will anyone listen?

I wish I could wail over their bodies.

I wish I could just run barefoot in every refugee camp and hold every child, cover their ears so they wouldn’t have to hear the sound of bombing for the rest of their life the way I do.

We teach life, sir.

Today, my body was a TV’d massacre But today, my body was a TV’d massacre made to fit into sound-bites and word limits.

And let me just tell you, there’s nothing your UN resolutions have ever done about this.

And just give us a story, a human story.

You see, this is not political.

We just want to tell people about you and your people so give us a human story.

Don’t mention that word “apartheid” and “occupation”.

And no sound-bite, no sound-bite I come up with, no matter how good my English gets, no sound-bite, no sound-bite, no sound-bite, no sound-bite will bring them back to life.

No sound-bite will fix this.

This is not political.

We teach life, sir.

You have to help me as a journalist to help you tell your story which is not a political story.

Today, my body was a TV’d massacre.

We teach life, sir.

We Palestinians wake up every morning to teach the rest of the world life, sir.”

ON THE GO | Q&A ROSASET ALAM

[FOLLOW ROSASET ALAM] http://www.Soundcloud.com/Rosasetalammusic http://www.facebook.com/Rosasetalammusic http://www.reverbnation.com/Rosasetalammusic http://www.twitter.com/Rosasetalam http://www.youtube.com/rosasetalammusic

ROSASET ALAM ‫رصاصة قلم‬ 1. How did you find Hip-Hop? Back in 2006, a lot of arab hiphop scenes started to be noticed, for example the lebanese scene with their super-group 961 Underground and Arabian knightz in the Egyptian scene, so we found out that the hiphop is the tool that i can express whatever we feel/do with.

2. What inspired you to rap?

Firstly, the music it self is crazy, the strong lyrics and the mad different flows, plus, we wanted to change the music industry in Doha because we are based there and in our homeland Egypt.

3. Who are your influences in Hip-Hop? Everyone in the Arab hiphop scene is an influence to us but artists like Wu-Tang, Tech N9ne, Big Pun and Nas had a great influence on us. Boikutt, Al Hamorabi, MC Amin, Malikah and Shadia Mansour are our influences as well.

4. Will you be releasing an album soon?

Our next album will be out in December this year, so stay tuned.

5. What are the messages that you discuss in your songs? We discuss every single thing we face in our daily life, we discuss injustice, poverty, stuff that only can happen in Doha. We trying to deliver our message through music, and we trying to deliver also that the independent music is for the new generation to express the problems of the youth all around the Arab world because it’s the voice of Revolution.

6. Who are your top 5 Arab Hip-Hop Artists?

Boikutt, El Far3i, El Rass, Ramcees L’Hamorabi and Arabian Knightz.

REVOLT/REPORT | BEFORE IT IS TOO LATE

S I T I E BEFOR

E T A L TOO

Written by Karmel [FOLLOW KARMEL] Twitter @KarmelPal paldiary.tumblr.com

To the people that are looking for a nice sound in the club, Tupac is defined in “California Love,” a nice sound.

However, if you paid attention to the words, you will discover that he was more than an entertainer. He was a militant, coming from the cradle of the Black Panthers, and projecting Malcolm X and MLK in every sound bite.

He tackled social issues and personal emotions and reached an incredible amount of people. However, I do not believe that he did reach enough. Tupac was portrayed by the media merely as a thug, which is, undeniably, something he wanted to use to break into the “game.”

Was he a thug? An activist? A gang member? A militant?

The confusion persists until this day. Nevertheless, when I recite one of his rhymes, mouths are open in awe.

“We did not know!” is what people would usually reply.

Few days ago, I have listened to a recorded phone call between Tupac and Sanyika Shakur. A side of Tupac that I heard people talk about but did not witness until I listened to this call is how deep he was. Tupac had dreams and plans to uplift the community.

He strategized on a practical and on a theoretical level, aiming for the people to take control over the politicians.

However, his life was taken away and there were still people that considered him merely a loud and a crazy hooligan, a thug. Tupac’s experience is the one of Hip Hop, which is rejected by societies, at least in its beginnings, because it usually defies and criticises the norms and encourages the youth to think (Hip) and move (Hop). Consequently, rappers have been labelled as ‘crazy,’ ‘irresponsible,’ ‘conspiracy theorists,’ ‘slobs,’ or ‘thugs,’ and this is very dismissive.

The Arab world is no exception.

When I talk about Hip Hop to Arabs, regardless of their age, their reaction is usually not taking my words seriously. In the Arab world, being a rapper, or an artist in general, is still looked down at, maybe because art does not feed roaring stomachs in our countries, or maybe just because it is different. Having such a mindset would push the youth further away from discovering their artistic and innovative capabilities and demean the value of art. Even with this lack of encouragements, Arab young artists have been challenging the status quo, and they are inspiring others. I remember the first time I picked up the pen to write my first Arabic rhymes; it was right after listening to El Rass and El Far3i’s E-Stichrak. There are many Arab artists that are doing an incredible job tackling societal and political issues. The quality of their work is top-notch. They are not surrendering to the overly sexualized musical productions in our mainstream media that seems to exist only to entertain aimlessly.

We have embrace and encourage these talents. If we are not used to listen to Hip Hop thenwe shouldn’t just dismiss it. We have to try to understand its message, try to understand that we need to work together.

Construct, not destruct, before it is too late.

ON THE GO | Q&A MARCEL CARTIER

[FOLLOW MARCEL CARTIER] facebook.com/marcelcartier1 Twitter @cartiermarcel.

ON THE GO | Q&A MARCEL CARTIER

Q&A MARCEL CARTIER How did you & Hip-Hop meet?

I started writing lyrics at the age of 14 with three of my high school friends in the back of classrooms. We were all into the hip-hop we heard on the radio, but in addition to the prominent artists of that time (the likes of DMX, Jay-Z, Cash Money), I took a particular liking to MCs such as Dead Prez, KRS-One and Talib Kweli. Their message resonated so strongly with me that it forced me to challenge the way that I perceived my own country (the United States) and its role in the world. You could say that from that age onward, hip-hop was my best teacher and helped to change my worldview and develop it. It’s because of that powerful impact it had on me that I take seriously the way that I choose to use it and the messages I put out.

In your opinion, is it difficult to speak the truth & still maintain a commercial success?

It would be hard for me to answer this because I’ve never really achieved any legitimate commercial success.

Maybe that would indicate that yes, it’s very difficult. Then again, there have been some artists who have progressive or radical politics (Immortal Technique, Lowkey, Lupe Fiasco) who were able to break through the mainstream to at least some degree. I don’t think we should have any illusions about the mainstream, though — at the end of the day, those who own the means of getting information out don’t have any interest in having more than a handful of voices out that go in opposition to their interests. Rich people don’t really want a lot of people calling for them to be overthrown, after all.

You are known for your revolutionary style. What are some of the struggles you face given that you chose that path?

The main struggle is in merely getting the message out at all. The content of my music is in direct opposition to the ideology that’s considered to be the “norm” in our society, so it becomes an uphill battle from the very beginning to break through all of the propaganda apparatuses. Also, I feel that the entire label of “revolutionary” or “conscious” hip-hop is problematic. For one, it creates boxes that people are expected to fit inside and can’t go out of, as if it would be shocking for me to make an “unconscious” song or for a so-called “normal” artist to make music that’s considered “conscious”. In addition, I feel that the serious lack of a viable revolutionary movement in the west means that the “revolutionary” culture exists in separation from any real political clarity or understanding.

We have artists who are trying to create political movements, when it would be more sensible for the culture to instead flow from political leadership. I don’t think we should generally be looking to artists for political guidance, but this is unfortunately the reality of the day because our revolutionary organisation is so weak. So what is revolutionary hip-hop? Not very revolutionary at all, in my opinion. It may make you feel “militant” or “radical”, but to be blunt it doesn’t generally appear to to be providing the high level of political understanding that we require.

Do you think Radio Play is as important as before?

It depends on what you’re trying to accomplish, really.

Of course, those who are vying to be a Top 40 artist will want to get radio play because it will make or break you at that level. That being said, for most artists the internet is such a powerful tool of self-promotion that a lot can be achieved in creating an audience from home. . What are you currently working on? I’m working on my first book, which is an eyewitness account of my two trips to Ukraine earlier this year where I witnessed U.S. imperialism and fascism at work in trying to install a puppet government. I’m also working on a new EP with Agent of Change and an album with my brother Saeed Shah as the Grumpy Professors.

Tell Re-volt magazine something not a lot of people know about Marcel Cartier.

In addition to being an artist, I have worked as a journalist for RT for a year and a half. In that profession, I was able to travel to places I could previously only dream of going, including Venezuela, Cuba, China, North Korea, Turkey, Egypt, and Iraq. My favourite city in the world is Pyongyang, North Korea.

[FOLLOW ASHEKMAN]

https://www.facebook.com/ASHEKMAN Twitter @ASHEKMAN

ASHEKMAN \\ LEBANESE GRAFFITI WIZARDS

LOCAL FLAVA’ | ASHEKMAN // STREET ART

ASHEKMAN | Photo credit Karim SAKR

Graffiti is not only a beautiful drawings on a wall.

It reflects a message. As Ashekman crew, what are the message you try to portray in your work?

ASHEKMAN twins were born in the early 80’s in Beirut, a city torn by civil war, riots, terrorist bombings, revolutions and several invasions by Israel, our existence as street artists started as an normal response to all whats happening and to make the morally destroyed city a better looking place. Our main message is freedom of speech, we convey social and political messages in an intellectual way, we are nicknamed the underground intellect for this reason, where we tackle differnt topics in a witty way to surpass censorship and limitations...

Are you getting support from the local community?

We are getting tons of support from the local community since we are making their neighborhood a better place to live in without asking anything in return, plus our messages on the walls are making beirut an outdoor art gallery, reviving Beirut cultural and historical hertitage in a modern and creative style.

Who do you guys listen to while drawing?

Most of the time, we don’t listen or put any music on, we need to keep our ears and focus on the surroundings, since when we re doing a graffiti we know that its not a fun party but its an act that you may get punished by the police, political parties or even the militias...

Any new projects you would like to announce?

Besides releasing Ashekman/DjLethal Skillz newest videoclip this month, we are working on a huge project this summer, it will showcase Ashekman creativity in Arabic street art, Our slogan is the street is ours, and this is what we are going to achieve through our art, no need for guns and bombs just ideas and spray cans...

Stay tuned!

Interview by Hassane DENNAOUI a.k.a. BIG HASS revoltmag1@gmail.com

LOCAL FLAVA’

‫خ‬ ‫ا‬ ‫ل‬ ‫د‬ ‫إ‬ ‫ م‬dM

e l a h tist K r A p o A H Q& rican Hip e

m Libyan-A

What was your first interaction with Hip-Hop? Hip Hop has been a part of my life for as far back as my memory takes me. My uncles and others in my community used to put me on to music and lyrics that were probably advanced for my age. I was the only kid in elementary school looking up old Tupac lyrics and poems or listening to Nas. What inspired Khaled M? I’m inspired by struggle. I’m inspired by people who sacrifice worldly success and risk everything to stand by principle and fight for something they believe in.

My father escaped jail in Libya in 1977, after 5 years of torture. He left the only family he ever knew and started a new life in another world. But the whole time he lived meagerly, dedicating himself to the fight for freedom back home and never truly settling in and focusing on getting money abroad.

Tell us about your collaboration with Iraqi/British MC Lowkey on the track “Cant Take Our Freedom”. How did that see the light? and what was the process like?

This song came about during the early stages of Libya’s revolution. This was before media was allowed in the country, before NATO was involved, before people’s lives were political pawns. Gaddafi was literally slaughtering people with no end in site. I wanted to inform the world.

I couldn’t wait for the media. We compiled footage of events there, much of it sent to us by Libyans from their cellphones.

I approached Lowkey with the track, knowing he’d empathize with the humanitarian crisis and offer the song a wider audience. He was going through legal troubles at the time, and didn’t want to record anything controversial. He kept saying “I wish I could bruv”. I made him promise to just listen to the production (by Bliz Beats from Chicago). As soon as I turned on the instrumental, his eyes lit up, and I could see him immediately start mouthing words. The music was captivating, the message was necessary.

We were on tour at the time. We wrote the song in Detroit, recorded it in Miami, and mixed it in Chicago.

The rest is history!

some dark places together, but in the end we’ll come out better because of it.

How much of your art is influenced by your Muslim Faith? Is Hip-Hop & Islam related?

Islam has been the biggest influence on my life, by an infinite margin. However, I like to consider myself a recording artist who happens to be Muslim, not a “Muslim Recording Artist”. I don’t make nasheed or Islamic gospel music. I dont intend to shove anything down anyone’s throat. I just love sharing my perspectives on life, and I’m thrilled if it can create dialogue or spark interest in someone. With that said, I am conscious of my position and potential as a role model when making music.

Islam has undoubtedly had an impact on hiphop, all the way back to its inception. I’m not going to list the dozens of MCs who are Muslim or rapped about Islamic ideology, but the info is out there for anyone who’s curious.

What do you hope the youth understands from your music?

Always be true to yourself and never feel pressure to follow the herd. Treat life as a constant journey of self improvement and reflection. The best ths aren’t always the easiest.

Your dream performance stage is..?

All my fans from around the world gathered in one place for a private concert.

Do you think that its possible for a song to change someone’s life?

People are influenced by all types of media they soak in on a daily basis. I once heard film producer Jerry Bruckheimer say something along the lines of “If I can just offer an escape for people to forget about all of their problems for two hours, I’ve achieved my goal”. I aim to do the exact opposite. I want to inspire people to face their issues head on. It can get uncomfortable, we may go to

Tell Re-Volt Magazine something that not a lot of people know about you.

I’m a huge foodie. I love experiencing other cultures through food. When I reminisce about my travels the first thing I associate every city with is where the best food is there. I also love to get into the kitchen and throw down. I’m very conscious of what I put into my body.

Interview by Hassane DENNAOUI a.k.a. BIG HASS revoltmag1@gmail.com

[FOLLOW KHALED M] Twitter @thisisKhaledM

[FOLLOW DJ SOTUSURA] Twitter @SOTUSURA https://www.facebook.com/sotusuraofficial

Hip Hop DJ Sotusura (Credited Image: Š Omar Alkalouti)

ON THE GO | DJ SOTUSURA

EXPRESS Q&A | DJ SOTUSURA From ARA to ENG, your name translates to ‘DJ Sound&Image’.

How have both elements affected your choice to become a DJ? The name came out after I came back to the Middle East. I was already dj’ing, before that, under other names but, moving back and working within the Arab hip hop culture, I decided to pick up an Arab name that represents me fully. The sound and image of hip hop is what got me into this culture: music, bboying, dj’ing, graffiti, etc... I’m also influenced by everything I hear, see or watch in general. That’s another way of describing the name.

How would you describe your style?

I’d rather have someone else describe my style, someone who might have attended a couple of different events. I am definitely boxed in as an underground hip hop dj, but I do play all kinds of different styles of music within a set - depending on where I’m playing. The back-bone of everything is definitely hip hop, but I can find myself playing some chilled out trip-hop set in a lounge, or some cumbia or afro beats in a club.

In a concert though, I’d focus on dropping arabic hip hop beats and tracks mixed with some classic maybe.

What’s your method in producing? Do you have a ritual or source of inspiration?

I produce for fun, usually when I’m in the right place and I really feel like it.

It’s a hobby and I do it when I have the time and the mind for it. No real ritual. I usually have my machine close

by so I can just chop up a sample first, mess with it and then add drums. If that sounds good, I take it further. But, it’s not necessary in that order: the last thing I did was a remix of a Al-Far3i track.

With this one, I came up with the drums first and then added the sample. Stay posted this track should be on my souncloud before the end of the month!

What is your thoughts about Arabic Hip Hop? And what can we expect from you in 2014?

My thoughts on Arabic hip hop are positive. I like the way it has been growing lately and the amount of people putting effort behind it. The more I see projects coming to life, the more I am motivated. I can’t talk for the entire scene either, but when I look at the people I work with closely, I’m glad to see that each one has left there homes to travel to other countries to do shows, and it shows that it means a lot to them, whether it being hip hop music or its entire culture. 2013 has been a great step but we are looking forward to 2014 to have even more impact!

As far as my goals and what you could expect from me in 2014, well, one year is short but it’s starting very well for me: lots of shows in new cities where I have never played before, starting Feb. 1st, in Lyon, with Boikutt and Ramcess L’Hamorabi. Some tracks planned to come out such as the Al-Far3i remix and at least one or two mixtapes.

Everything is a source of inspiration to me but a lot of times it’s music and the sample I choose. A simple excerpt from a track can be an inspiration and lead to my work flow.

[FOLLOW EL FAR3I] https://www.facebook.com/A5ook.El.Far3i Twitter @El_Far3i

ON THE GO | EL FAR3I

EXPRESS Q&A EL FAR3I ‫الفرعي‬ When did you realize you want to get into HipHop? I never thought of it like that, especially that sometimes I feel like I wouldn’t even call it hip hop. I’d rather call it ‘rap’ as it would sound more like a technical thing i.e rhyming of a beat. When I was young, I used to write poems in Arabic; but then I stopped and got into playing the drums. Around 2004, I started writing rhymes again and finally, in 2008, I decided I was going to do actual rap tracks to express things around me.

In your opinion, what is the state of Arabic Hip Hop nowadays?

I think it’s in a very good place, but I still believe it is not an isolated movement. It might be seen as such by kids who want to copy paste from the bigger hip hop scene.

I believe it is part of a bigger movement of freedom of expression for all of the Arab youth, whether they write

songs, blog or do other forms of art. In the end, rapping has the words: it talks for all of these people.

With Internet, underground artists have more power. Do you think this power can overcome the power of record labels/mainstream?

Indeed, record labels already started finding new forms of music distribution so ultimately both underground and mainstream are in the same place: Internet. However, underground artists need more funding and experience to be able to compete. People like the music we do, but it is not very accessible due to the lack of market force behind it.

Personally, you take me on a lyrical journey in all your rap songs. What inspires you? How would you describe your style?

Well, Thank You Brotha Hass! :) I ‘m inspired by everything: daily life, relatives in Palestine, our martyrs, the streets of Amman, travelling, people, the Arab dreams as much as revolutions, conspiracies and love. I just think of it as reflecting on how I feel. It takes something as simple as a Facebook status to inspire me.

Where is your dream performing stage?

Anywhere in the Arab world.

If there were no borders, where every Arab can travel and not get stopped!

s p o t f . y . i .

“Target Wall of Gaza 1” by Palestinian artist Laila Shawa See more http://www.octobergallery.co.uk/artists/shawa/

s p o t f . y . i .