- 8 hours ago
Documentaire sur l'histoire du Hip Hop en France.
Réalisé par Bernard Fiou et Jean Pierre Noury
Avec la participation de : JAY ONE (ARTISTE GRAFFITI),
STORM (DANSEUR), DEE NASTY (DJ),
PASCAL BLAISE (DANSEUR AKTUEL FORCE),
XAVIER (DANSEUR AKTUEL FORCE), KARIM (DANSEUR AKTUEL FORCE )
ET HARRY JAMES (ARTISTE PEINTRE)
Réalisé par Bernard Fiou et Jean Pierre Noury
Avec la participation de : JAY ONE (ARTISTE GRAFFITI),
STORM (DANSEUR), DEE NASTY (DJ),
PASCAL BLAISE (DANSEUR AKTUEL FORCE),
XAVIER (DANSEUR AKTUEL FORCE), KARIM (DANSEUR AKTUEL FORCE )
ET HARRY JAMES (ARTISTE PEINTRE)
Category
🎥
Short filmTranscript
00:19How can you talk about hip-hop?
00:21You can talk about hip-hop.
00:22You can talk about hip-hop because there are a lot of people who don't understand.
00:27They don't understand.
00:28They don't understand.
00:31I don't know how to explain it.
00:37You can't talk about these things.
00:39You have to have lived to understand.
00:44And to make it progress,
00:46you have to cultivate a little bit.
00:50You have to recognize the influence that hip-hop had.
00:52They also recognize the reason to be in this movement.
01:03It's a social reason.
01:05It was made for a certain category of society to recognize the qualities and values.
01:12And to go ahead.
01:14D'où the future idea that they developed at the time.
01:18It was never to go ahead.
01:21Now it's bad.
01:23When we talk about hip-hop, we talk about old school.
01:26So it's a bit paradoxical.
01:29Because the idea of hip-hop was always to go ahead.
01:30It's hard to talk about hip-hop.
01:35And it's hard to talk about hip-hop.
02:00It's hard to take care of.
02:03There is a heartache.
02:04It's hard to take care of.
02:12It is hard to get to the point of understanding that.
02:30This culture's experience is a big-standing event.
02:35What I liked about hip hop when I started was a big alternative to what I learned in school or
02:46what I learned through the system.
02:48And for me, it was so energic and so different that I was right. And what I also liked was
02:56that it was a culture that they brought different forms of art.
03:04So if you liked painting, if you liked painting, then you liked graffiti. If you liked to make music or
03:12if you really liked to write music, then you liked to rap.
03:18And if you liked how to move your body, then you liked to dance.
03:21So in fact, for almost every person on earth, there was a way to become creative. And it was so
03:29new that it was revolutionary.
03:35It's a nice one!
03:38Have a great day!
03:48Good morning!
04:06And now, when I saw the concert New York City rap, I wanted to be breaker, I wanted to
04:12tap the graph, rap, and everything.
04:14But I started to do everything at the same time.
04:16And it turned out that I had something to do.
04:33I was 83, I remember.
04:35And my cousin brought a video cassette.
04:39The Americans were the Rock City Crew with Futura 2000.
04:42There was Africa Bombata.
04:45There were a lot of people.
04:47There was Mr. Freeze and all that.
04:49In this cassette that was just for a tour in France and all that.
04:54And they had the opportunity to film it.
04:56So I was able to see the Smurfs.
05:00Mr. Freeze, it was a mime.
05:01It was so mortel.
05:03And for me, it was...
05:05I had the impression that...
05:07I don't know, it was...
05:10It was not normal what I saw.
05:11It was an illusion, an effect, an effect in the movements.
05:15I became a fool.
05:16And when I saw the brokers, the guys turn on the head, tap on the top,
05:19then I fell down.
05:23And when I saw it, I tried.
05:24I was out there.
05:26And I tried to turn on the head.
05:27I didn't understand.
05:28I fell down.
05:28I said, it's not possible.
05:30It's a trick.
05:32And in the end, it was from there.
05:34I said, it's my thing.
05:36It's not a clash.
05:47I had a kick in New York at some times,
05:49it was to see on the table,
05:51people who are trying to pick up the ver,
05:53they're trying to see the guys with their book,
05:54and they're trying to play the graph.
05:56And there, it's fun.
05:57You see, the guys are trying to move their head
05:58on what you play,
05:59and in the same time,
05:59it's inspired them to play the graph.
06:01And then you say, yeah.
06:02And then you're on the other side,
06:03you have a little circle with the guys who break.
06:05You feel good.
06:07So I couldn't see everything at the same time.
06:09It's not that I saw first the break,
06:10but then I saw the all.
06:12So the all, I liked it all right.
06:16I didn't make a difference.
06:32I didn't make a difference.
06:35You mentioned it in elementary school.
06:41Some people are trying to see.
06:52In the first,
06:53who averaged his room,
06:54they noticed the vraag winners.
06:55Parks,他
06:55ran to China, who
06:55because there were
06:57big walls that could make
06:58beautiful graphs,
06:58and so the first squatters of the chapel were the grapheurs.
07:17There was this reunion of rappers, grapheurs, dancers, DJs,
07:26there was a dynasty who was already there and had a pain in the head with his...
07:34Very strong.
07:36How did we find this place?
07:38Because at the base it was a vague terrain for the grapheurs,
07:40but there was no place to dance.
07:42And one day, I remember, we had a crowd,
07:45I think it was at the Salpa Corabine,
07:46we didn't let us go.
07:48Because I was with a friend of Blanc-Ménil,
07:50he was a minor, so he didn't let us go.
07:53And we thought, we were going to do a tour of the terrain vague,
07:56in the chapel and all that.
07:57And we had just seen a cabin,
08:00there was a house just behind,
08:01there were the rails,
08:02and there was a house that was broken.
08:04And we looked at it,
08:05we saw there was a bit of a carrelage,
08:06so we had to clean the place,
08:07it was a big place in fact.
08:09We had to clean it and all that,
08:11and from there,
08:13we went on and we got to train there.
08:15Well, I thought it was a bit crade,
08:19but...
08:20You'd go home, crade,
08:22it's all,
08:23but...
08:24I think that this thing,
08:27it's hard,
08:29it's...
08:30You come,
08:30you say,
08:31it's crade,
08:32you put your hands,
08:33but you see the others,
08:33they do it,
08:34and you say,
08:35why not,
08:36and then you go inside,
08:39and...
08:39and...
08:40even if you plant it,
08:41even if you're not good,
08:44or...
08:44even if you're good or not,
08:46it doesn't change anything,
08:47the thing is that you love it.
09:10And after,
09:11there were all the parties
09:12every Saturdays,
09:13there-bas,
09:14made by Dynasty,
09:15with Death 3 Human,
09:16Johnny Go,
09:16who rapped,
09:17and all that.
09:18I remember,
09:19the Dynasty
09:20who brought his stuff
09:21to motor,
09:22you know,
09:24what?
09:25The Electrogen,
09:26and all that,
09:27and all that,
09:27and all that,
09:28and all that,
09:29and all that,
09:31it was really hip-hop,
09:33and to my opinion,
09:34that's where the real hip-hop
09:35started.
09:35Because there was no commercial,
09:38there was no TV,
09:39there was nothing.
09:40And,
09:41frankly,
09:42if there wasn't this place,
09:43I think the hip-hop would be...
09:46in Europe,
09:46I don't know if it would have been like that,
09:49right now,
09:50because in this place,
09:51even foreigners,
09:51they would come by the way.
09:58It was the guy in Europe.
10:04It was an obligation to know what happened.
10:08It was an obligation to know what happened.
10:09It was an obligation to know what happened.
10:20you saw a new graph.
10:22You saw new graphs.
10:23If you want to train,
10:23you saw the Bracke,
10:24you saw the Brackeers Metro.
10:25It was really good.
10:26It was a mythic place today,
10:29but it was really the place
10:32on your rapport.
10:34There was already an urban identity
10:37already at the time.
10:54When everyone enters the hip hop,
10:57for the time,
10:58everyone started by graffiti,
11:00by tag,
11:02before finding their element.
11:08Malgré ce qu'on dit,
11:11c'est un truc,
11:12c'est un truc,
11:15c'est vandal,
11:16je ne sais pas comment on appelle ça,
11:18c'est un truc qui détériore le matériel public,
11:22tout ça, tout ça, tout ça,
11:23mais c'est un truc qui a fait beaucoup, beaucoup, beaucoup
11:25pour la culture hip hop.
11:27Je crois que s'il n'y avait pas ça,
11:29dans l'état d'esprit,
11:31dans la mentalité des personnes,
11:33ça n'aurait pas évolué.
11:35Parce qu'à un moment donné dans sa vie,
11:36on avait tous obligé
11:40d'exprimer sa rage
11:42d'une manière ou d'une autre,
11:43et à cette époque-là, c'était le tag.
11:45Tout le monde, tout le monde, tout le monde,
11:46tout le monde tagué.
11:47Une personne qui me dit qu'il n'a pas tagué à cette époque-là, c'est...
12:11En fait, c'est le côté old school, ouais.
12:12Donc, euh...
12:15Comme à l'époque, quoi, avec les vieux survêtements adidas,
12:18bleu passé, là, un peu, tu vois.
12:21Et euh...
12:22Avec l'ambiance, quoi, les cercles, les gens formés,
12:24tout ça avant, avec tous les gens qui crient,
12:26à chaque fois que tu fais une bonne phase, tu vois.
12:29T'as les gens qui crient.
12:30Et même les tons, d'ailleurs, ils sont passés,
12:32c'est voulu, c'est fait exprès.
12:34C'est parce que c'était une époque, en fait, tu vois.
12:36C'est pour ça.
12:37Et en fait, ça rejoint un peu ce...
12:39Ce dessin-là aussi, là.
12:42Tu vois.
12:44Là, c'est tout ce qui me reste, en fait.
12:45C'est une toile que j'ai vendue, tu vois.
12:48Et euh...
12:49Bah là, c'est un gars qui fait...
12:50Ça exprime la vitesse, tu vois.
12:52C'est un gars qui fait la coupole.
12:54Et...
12:55Donc, on voit bien le cercle et tout ça,
12:56avec les gars qui sont un peu...
13:00Ils sont...
13:01Ils kiffent, quoi.
13:02Ils crient, ils sont choqués, tu vois.
13:19À chaque fois, je suis toujours aussi étonné, quoi.
13:21En fait, ça évolue vachement.
13:23À un moment, tu te dis, c'est bon, là, ils ont tout fait.
13:25C'est plus possible, quoi.
13:26Ils peuvent plus créer des pas et tout ça.
13:31Voilà.
13:36Voilà.
13:43Oh !
13:45Oh !
13:45Oh !
13:56Yahoo !
13:58www.pengmisune.com
14:00!
14:00I remember the hip hop in the beginning, there were a lot of robux and renoyers who were
14:05in our heads.
14:06The city guys were in my head when I was in my city, you know.
14:14Now in all the cities, the guys were rappers or DJs, but it wasn't the case at the time,
14:24they were in your head.
14:25Hip hop, stop, you lose your time, I said no, I don't lose my time.
14:29I do it because I like to do it.
14:32It's like you were going to play football because you love to play football, I don't like
14:35football.
14:36You're going to play football, you're going to play football, I'm going to play football.
14:37I'm going to play football.
14:39I'm going to play football.
14:40And then there were a few times I had a little bit of trouble with my friends.
14:44Why?
14:44Because they thought they were dead, and in my heart, they weren't dead.
14:48So why?
14:49Even if I'm all alone on the earth to practice, he's still there because I practice it.
14:52You understand what I'm saying?
14:53There was a mix that was wrong, and the real people didn't understand it.
14:57They didn't understand it.
14:59I think there are very few people who understood what was really hip hop.
15:03I'm talking about hip hop, I don't care about the disciplines because I don't want to
15:06get into it, but I see a lot of things now.
15:11I see a lot of people dancing, and I don't do anything.
15:14I see a lot of people dancing, and I don't do anything.
15:15I see a lot of people raping, and I see a lot of DJs dancing.
15:17It's like in Graf.
15:18It's always nice to know people dancing.
15:20But, I don't do anything at all.
15:24Because there's no mood, there's no way to move.
15:26There's no way to move.
15:28There's no way to move along, and you know, it's important.
15:31I can't even see people dancing.
15:31Even sometimes, it's interesting.
15:33I've talked about an attitude of being a little, because I saw that's in my mind.
15:36You know, the regeneration, the respect, the values.
15:39They would have laughed at me, they would have laughed at me, they would have laughed at me.
15:44We didn't know that, we didn't know that.
15:46It's what we see now, it's the break, it's the reputation,
15:50it's just the way to make a name, it's just the story of making a name,
15:52it's the scene, it's the money,
15:54while we were talking about things,
15:57which we've made avance, but without going through the steps.
16:03It's a bit faster, I don't know what will remain
16:06with this new generation of DJs,
16:07who are good technicians, but I don't know where it will go.
16:12They have a lot of things to tell.
16:15There was a total lack of respect, there was an oublier,
16:19when I saw the new generation,
16:22they were ready to defeat the ancients who are there for a certain time,
16:25but it's been 3-4 months that they dance.
16:27They haven't even learned anything about the dance,
16:30they haven't even learned anything.
16:31And people believe that because they make a cupola or because they make a Thomas,
16:35they have all learned about the dance, but in the meantime, no.
16:37Today, there is a breaker,
16:39it will come,
16:40it will come,
16:41it will come,
16:41it will come,
16:42it will come,
16:43it will come,
16:44it will come out of another breaker,
16:47over six months,
16:48one an,
16:48it can be already a good breaker,
16:49in the phases,
16:51but there's not that,
16:53there's also the dance.
16:55And the guys,
16:56in six months,
16:57they learn,
16:57they learn,
16:58they learn,
16:58and then they think they're invincible,
17:01they learn this,
17:02they learn this,
17:03and...
17:04and...
17:06and...
17:07and that's what?
17:08That's what?
17:08That's what?
17:09That's what the dance,
17:09because it's not the dance now,
17:10it's the execution.
17:12Do you understand what I'm saying?
17:13Before you had a dance,
17:14there was first one of the state of mind.
17:16If you don't have the state of mind,
17:17if you don't have the state of mind,
17:18you don't have the state of mind.
17:19Do you understand?
17:21This state of mind,
17:22we tried to keep this state of mind,
17:23you see,
17:24when you look at all the ancients,
17:25when you look at all the ancients,
17:28we have this state of mind.
17:31Now,
17:31I don't want to say that
17:33the young people of the new generation
17:35have this state of mind.
17:38It has to have evolved,
17:38like the hip-hop,
17:39like the dance,
17:40it has evolved.
17:41But the state of mind,
17:43it has evolved in bad,
17:44I would say.
17:46It's not like the movements,
17:47the hip-hop,
17:49the break,
17:49it has evolved considerably.
17:51But the state of mind,
17:52it has evolved in bad.
17:55I would have preferred the opposite.
17:57Because what we were talking about,
17:58was that state of mind,
18:00peace, respect,
18:01all that.
18:03And that's lost.
18:04Now, it's more business,
18:05money,
18:07it's something else.
18:09We really forgot
18:11the heart of the movement,
18:14the hip-hop.
18:15So, for me,
18:16the rest is zero.
18:19Like a boat
18:19in a stone,
18:20a spider-tie.
18:21We rock, peanut butter, MC.
18:23But stay locked to see
18:24out in the cold.
18:25Or maybe the dark
18:26can take your blade
18:27out for itself.
18:27Back to the block.
18:28C'est hyper rare,
18:29maintenant,
18:30de retrouver des soirées
18:31où il y a l'ambiance
18:31qu'il y avait avant.
18:33Voilà.
18:35C'était plus un échange
18:37de mouvements,
18:37un échange de styles.
18:38Tu montrais ce que tu savais faire,
18:40et l'autre personne aussi.
18:44Tu vois,
18:45tu lui portais un intérêt,
18:46maintenant,
18:46ce que tu fais, c'est naze.
18:48C'est pas comme ça
18:48que ça se passe.
18:49Même au niveau du son,
18:51les gens sont vachement
18:51plus fermés
18:52qu'ils n'avaient été avant.
18:54Il leur faut ce qu'ils ont...
18:56À la limite,
18:57le public rap devient
18:58comme n'importe quel public.
18:59Il faut qu'ils entendent fort
19:00les disques
19:01qu'ils ont déjà chez eux.
19:03Et ils ne sont plus près
19:04d'être à découvrir d'autres choses.
19:07Il faut leur imposer.
19:08Il faut le faire en loose
19:11sans qu'ils s'en rendent compte.
19:12À la limite.
19:14Voilà.
19:14Tu mets une nouveauté,
19:15tu mets trois trucs inconnus,
19:16tu en mets deux nouveaux...
19:17Non, je veux dire,
19:18tu mets un truc incassé.
19:20Genre un bustle,
19:21ouais, meuf,
19:22trois...
19:23Il faut arriver à doser comme ça.
19:24Mais à un moment donné,
19:25il faudrait que tu leur mettes
19:26le pavé de ce qu'ils entendent
19:27partout déjà.
19:29Et ça, ça me gonfle un peu.
19:33Il y a aussi un autre truc
19:34qui est gonflant,
19:35mais bon, c'est en train
19:35de changer un peu.
19:37C'est...
19:38Je pense qu'il fait vachement
19:39aussi sur l'ambiance
19:40et sur la danse en général.
19:42C'est la vitesse du rap actuel
19:44qui est très...
19:45qui est calculée
19:46pour que les mecs,
19:47les rappeurs puissent
19:48poser leur flow bien dessus.
19:50Mais au niveau de la danse,
19:51je trouve, c'est...
19:53D'ailleurs, avant,
19:54il y avait de la diversité
19:55dans un album de rap.
19:56Tu avais des morceaux
19:57à toutes les vitesses.
20:00Et quand tu faisais une soirée,
20:01tu n'arrêtais pas de voyager
20:03entre du vent.
20:04Tu montais rapide,
20:05pof.
20:05Après, tu recassais
20:06avec un truc bien lent.
20:07Et c'était hyper intéressant, quoi.
20:11Tu pouvais te balader.
20:13Tu passais des trucs
20:14avec des samples de James.
20:15Après, tu faisais
20:15une petite série full
20:16pour marquer le...
20:18pour mettre les trucs
20:19qui ont été samplés.
20:20Après, tu passais dans l'électro.
20:22Enfin, tu arrivais.
20:22C'était un vrai voyage.
20:23Et maintenant, tu te cantonnes...
20:26C'est plus limité
20:28à toujours la même chose.
20:30Et bon, tu te fais
20:31une soirée de 6 heures
20:32à jouer que du 90 BPM.
20:34À la fin, tu deviens
20:35neurasthénique, quoi.
20:49À part les breakers,
20:50il n'y a personne
20:51qui kiffe le son rapide, quoi.
20:52C'est ça qui est...
20:55Dès que ça monte...
20:56Même les gens,
20:57on dirait qu'ils ne savent plus
20:58comment bouger là-dessus.
20:59On dirait que ça les fait
21:00trop sautiller
21:01et ils ont peur
21:02de se taper la honte
21:03ou je ne sais pas.
21:05C'est bizarre, quoi.
21:58C'est juste ça.
22:03On dirait que du hété
22:04two words, it's not hip and hop, the two words do something.
22:10It's a school of life, it's global, it's social, it's a bit political, it's a bit religious,
22:18it's a school, a bit like the Greeks or the Romans, you know, to avoid the spiritual person
22:25in you.
22:27When I went from country to country, I always felt that my nation would be the hip-hop,
22:33and it's going to be the hip-hop nation, and this is my nationality, my nationality
22:37is not really German, I'm hip-hopper.
22:40The hip-hop is still there, it's in me, and I can't remove it, I don't know, I'm tattooed
22:46and it's inside, you understand what I mean, you can't remove it, it's in your body, it's
22:52like that, and in the hip-hop there's no command, there's no one saying this or that, you do
23:00what you want to do, you do what you want to do, and if you do it with your heart,
23:04it's even better.
23:06I don't know, the hip-hop, it's an ensemble, you're supposed to be interested in other
23:10elements, I think, if each one is in their field, it's not a sense.
23:16If it's for you to read a book and you refer to it for you to read a book to
23:21read a book,
23:21it's not a sense.
23:23In the hip-hop it's the same, if you start a discipline and you start a lot of steps,
23:31at a moment, you'll be obligated to return to the source, you'll be obligated to return to the
23:36source and read the book, and then look at what you want to do, and repartir from the beginning.
23:44The values are not lost, it's the people who come in, there are so many people who come
23:48in the hip-hop today, like that, they think they come in there like they go to the LPE or
23:57they go to the school, you understand what I mean ? In the hip-hop, you come in there,
24:02nobody can enter, nobody can go out, but now in the hip-hop, there are more parasites than
24:09people who are authentic. The hip-hop will depend on them, of the new generation.
24:15The hip-hop will depend on them, if they don't pay attention, where they put their feet,
24:19everything they do, everything they have built during their practice, everything that the
24:26ancients have done to get there, everything will go out, everything.
24:32I think that hip-hop is something that is something that is self-guerile, that is to say,
24:39that we arrive in the bad shape, but even if it is more médiatic or something, it will
24:47be little and real, because these young people, they will grow up, and they won't be
24:55It's not exactly the same idea that we, but it will always be in a good direction.
25:01Because according to their experience they had here, today, later, if they are still there,
25:09the bad things will be put together, and in the bad things, they will keep everything
25:15that is good to be able to advance. And in the end of the day, it's that the hip-hop.
25:18The value changes, but it doesn't matter.
25:29Yes
25:33What?
25:38Oh
25:39Oh
25:42Oh
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