August 11 is Hip-Hop Day, a time to celebrate the history and culture of one of the most influential musical genres in the world. Hip-hop, with its infectious beats, poetic lyricism, and revolutionary spirit, has carved its own niche in history. As we commemorate Hip-Hop August 11th, it’s essential to delve into the genre’s roots, its evolution, and the profound influence it continues to exert on the world of music. Hip-hop began in the Bronx in the early 1970s, when DJ Kool Herc threw a party and started extending the instrumental breaks of funk and soul songs. This led to the development of breakdancing, MCing, and graffiti, the three pillars of hip-hop culture.

Origins and Pioneers

Hip-hop emerged from the Bronx, New York, in the early 1970s as a cultural movement that intertwined music, dance, art, and social activism. The genre’s foundations were laid by influential figures like DJ Kool Herc, Grandmaster Flash, and Afrika Bambaataa, who used turntables and mixers to create innovative sounds, blending funk, soul, and rhythm and blues. August 11th serves as a symbolic reminder of the day Kool Herc hosted a legendary back-to-school party in 1973, often considered the birth of hip-hop culture.

Cultural Resonance

What began as neighborhood block parties soon blossomed into a global phenomenon. Hip-hop was more than just music; it was a platform for marginalized voices to express their struggles, aspirations, and perspectives. August 11th symbolizes this revolutionary spirit, as artists seized the opportunity to address issues like social injustice, economic disparities, and racial inequality. The genre’s lyrical prowess became a megaphone for change, amplifying voices that were often silenced.

Evolution and Innovation

Over the decades, hip-hop evolved in remarkable ways, diversifying its sound, style, and impact. The 1980s witnessed the rise of rap, as artists like Run-D.M.C., LL Cool J, and Public Enemy transformed hip-hop into a mainstream cultural force. The ’90s introduced the world to the golden age of hip-hop, characterized by intricate storytelling, complex wordplay, and genre-defying experimentation. August 11th became a beacon of creativity, inspiring artists to push the boundaries of rap and music production.

Global Reach and Contemporary Influence

As the 21st century dawned, hip-hop’s influence reached every corner of the globe. Its infectious rhythms and relatable themes resonated with people from diverse cultures and backgrounds. International artists began embracing hip-hop, infusing their own cultural elements to create a unique fusion. August 11th became a day not only to celebrate hip-hop’s American origins but also its role as a universal language that united people through shared experiences. Over the years, hip-hop has spread around the world and become a global phenomenon. It has also evolved to include a wide variety of subgenres, from old school to trap. But no matter what form it takes, hip-hop is always about expressing oneself, telling stories, and connecting with others.

Digital Age and Beyond

In the digital age, hip-hop’s impact multiplied exponentially. The advent of the internet and social media allowed emerging artists to bypass traditional gatekeepers and share their music directly with audiences. Hip-Hop August 11th now serves as an annual reminder of the genre’s power to unite, inspire, and challenge the status quo. Online celebrations, music releases, and community events pay homage to hip-hop’s rich history while looking toward an exciting future.

As we celebrate Hip-Hop August 11th, we honor the genre’s journey from its humble beginnings to its current status as a global cultural phenomenon. Hip-hop’s ability to transcend boundaries, amplify voices, and inspire change continues to shape the music landscape. August 11th stands as a testament to the genre’s enduring impact, reminding us that hip-hop is not merely a style of music, but a dynamic and transformative force that has reshaped the world of music and beyond.

Hip-Hop Day is a time to celebrate the diversity and creativity of hip-hop culture. It is also a time to reflect on the impact that hip-hop has had on the world. Hip-hop has given a voice to the marginalized and has helped to break down barriers of race, class, and gender. It has also been a force for social change, speaking out against injustice and inequality.

On Hip-Hop Day, let’s come together to celebrate this vibrant and important culture. Let’s listen to our favorite hip-hop songs, watch breakdancing battles, and admire graffiti art. Let’s also learn about the history of hip-hop and its impact on the world.

Here are some ways to celebrate Hip-Hop Day:

Listen to your favorite hip-hop songs.
Watch a breakdancing battle.
Admire graffiti art.
Learn about the history of hip-hop.
Attend a hip-hop festival or concert.
Start your own hip-hop crew.
Write a rap or poem.
Create a piece of graffiti art.
No matter how you choose to celebrate, make sure to have fun and spread the love of hip-hop!

Here are some of the pioneers of hip-hop who helped to shape the culture:

DJ Kool Herc
Afrika Bambaataa
Grandmaster Flash
The Sugarhill Gang
LL Cool J
Run-DMC
Public Enemy
The Notorious B.I.G.
Tupac Shakur
Jay-Z
These artists and many others helped to make hip-hop what it is today. They paved the way for future generations of hip-hop artists and helped to spread the culture around the world.

Hip-hop is more than just music. It is a culture that is expressed through music, dance, art, and fashion. It is a culture that is about self-expression, creativity, and community.

Hip-hop is a powerful force for good in the world. It has given a voice to the marginalized and has helped to break down barriers of race, class, and gender. It has also been a force for social change, speaking out against injustice and inequality.

On Hip-Hop Day, let’s come together to celebrate this vibrant and important culture. Let’s listen to our favorite hip-hop songs, watch breakdancing battles, and admire graffiti art. Let’s also learn about the history of hip-hop and its impact on the world.

Hip-hop’s influence on music extends far beyond its own genre, touching various musical styles and inspiring countless artists to incorporate hip-hop elements into their work. Hip-hop’s influenced neo soul, nu metal, and others. Here are some examples of different genres that have been influenced by hip-hop bits and pieces:

Pop Music: Pop artists have frequently integrated hip-hop beats and production techniques into their songs. Artists like Madonna, Britney Spears, and Justin Timberlake have all experimented with hip-hop-inspired sounds in their music, adding a fresh and urban edge to their pop hits.

R&B: R&B artists have often collaborated with hip-hop artists and incorporated rap verses into their songs. The fusion of R&B and hip-hop has given birth to a subgenre known as “hip-hop soul,” where artists like Mary J. Blige, Alicia Keys, and Usher seamlessly blend the two styles.

Electronic Music: Hip-hop’s rhythmic patterns have influenced electronic dance music (EDM) producers, who often infuse their tracks with hip-hop beats and samples. This fusion has given rise to subgenres like “trap” and “trapstep,” with artists such as Flume, Diplo, and Skrillex incorporating hip-hop elements into their electronic compositions.

Rock: Some rock bands have experimented with hip-hop-inspired rhythms and vocal delivery, creating a unique hybrid of genres. Bands like Linkin Park and Rage Against the Machine have incorporated rap vocals and hip-hop-influenced drum patterns into their rock sound.

Indie and Alternative Music: Indie and alternative artists have also drawn inspiration from hip-hop, incorporating elements like sampling, spoken word passages, and rhythmic patterns into their music. Artists like Gorillaz, Beck, and TV on the Radio have all explored this fusion of genres.

Latin Music Salsa): Hip-hop’s influence has extended to Latin music, resulting in the creation of “Latin hip-hop” or “reggaeton,” where Latin artists infuse traditional rhythms with hip-hop beats and rap vocals. Reggaeton artists like Daddy Yankee, Bad Bunny, and J Balvin have achieved international success by blending these elements.

Country Music: Even country music hasn’t been immune to hip-hop’s influence. The subgenre known as “hick-hop” or “country rap” emerged, fusing country storytelling with hip-hop production. Artists like Kid Rock and Florida Georgia Line have incorporated rap verses and hip-hop beats into their country songs.

Jazz and Funk: Hip-hop’s roots in sampling and rhythm have also found their way into jazz and funk music. Jazz and funk musicians have drawn from hip-hop’s production techniques and used sampled beats and scratches to create a modern twist on their traditional styles.

These examples showcase the incredible versatility of hip-hop’s influence, as it has seeped into a wide range of musical genres, enriching them with its rhythmic innovations, sampling techniques, and lyrical prowess. The cross-pollination of hip-hop with other genres has not only led to musical experimentation but has also contributed to the evolution of contemporary music as a whole.

Perez Art Museum PAMM

‘It’s important to listen to artists’: A roundtable on current gallery models

To understand young galleries’ priorities today, Brian Boucher spoke with Hua Xiaochan of Hua International; Isabella Ritter and Katharina Schendl of LambdaLambdaLambda; and Kendra Jayne Patrick

by Brian Boucher

The world has officially entered a post-pandemic era. The Chinese government discontinued its Covid lockdowns 6 months ago, and US President Joe Biden lifted the COVID-19 state of emergency this month. Dealers have returned to a more customary schedule of exhibitions and art fairs, and, for many, sales are steady: According to The Art Market Report 2023 published by Art Basel and UBS, the market has grown to higher than its pre-pandemic level, partly driven by a 7% increase in dealer sales.

One intriguing finding from the report was that despite challenging factors including rising rents, an increasing number of galleries have locations in more than one country. While in 2021, almost 95% of dealers operated from only one location, a year later, just 71% fit that description. Art Basel recently convened a Zoom roundtable among the founders of three young galleries who reflect this trend to find out what drove them to begin a business in uneven times, what their greatest challenges are, and how they came to have their distinctive footprints.

Founded in 2020 by dealer Hua Xiaochan and her husband Klaus Dierkes, Hua International simultaneously opened spaces in Berlin and Beijing. The gallery currently has a roster of just two but organizes shows with international artists.

LambdaLambdaLambda was founded Austrian duo Isabella Ritter and Katharina Schendl in 2015 in Pristina, Kosovo, becoming the city’s first international contemporary art gallery. They also show regularly at La Maison de Rendez-Vous, a shared space in Brussels they established with Misako & Rosen (Tokyo) and Park View / Paul Soto (Los Angeles), and opened a second, larger Pristina space in 2022.

Kendra Jayne Patrick’s gallery began as an itinerant space in New York in 2017 before establishing a permanent location in Bern, Switzerland. She was one of the first dealers without a long-term space to show at Art Basel when the fair changed its requirements for participation.

Art Basel: You’re all young galleries that started in the last 8 years. By all accounts, it’s an increasingly difficult environment. What drove you to start a business in these times, and how are you faring as we enter a post-pandemic moment?

Isabella Ritter: Is there ever a good moment to start a gallery? We didn’t think about whether it was a good moment, but rather just went for it.

Katharina Schendel: The art scene in Kosovo was also vibrant and interesting to us.

Hua Xiaochan: We are a pandemic baby; we opened in September 2020. I had worked as an artist and at a gallery, and I was thinking, ‘What am I going to do to continue my concepts?’ We found great places in Berlin and Beijing. That led to the decision.

Isabella Ritter: It must have been difficult in China because [Covid lockdowns were] so much stricter.

Hua Xiaochan: The first year and a half, it was better than Europe. There weren’t lockdowns and we were able to make sales and open exhibitions. Last year was a disaster. The Chinese part of our business saved our ass a little bit. People couldn’t travel, so they had time and money to spend.

Kendra Jayne Patrick: I started a gallery for the reasons a lot of people do: because you have something to say. I wouldn’t say my gallery focuses on political art per se, but I choose artists who are plugged in to what is going on and have opinions. It’s quite a turbulent time in terms of the economy of the art world but an important time to be listening to artists, to what they want to express about our 21st-century experience.

Can you each talk about how you curate your program? How do artists come to join the gallery? Do you emphasize a varied program, or one that is more focused?

Isabella Ritter: We show local artists, though our idea was always not to be ghettoized. We are interested in artists with idiosyncratic practices, and have kind of a wild mix between local artists and those from elsewhere.

Katharina Schendel: In terms of age, we also represent the estate of an artist who was 80 when he died, and the youngest artist we represent is in his 20s.

Hua Xiaochan: I work with a super-young generation – my generation – born after 1990 and now in their 20s and 30s, and I’m looking for even younger artists. Curators and artists introduce artists to me. My program is still small because of the pandemic, because I think it’s important to meet in person, but now I can fly to meet artists. I use Instagram for research and I visit museum shows. We are working to build up a program that is not just comprised of young artists.

Kendra Jayne Patrick: I do a lot of Instagram research but at this stage there are more introductions from collectors and other gallerists, and opportunities to meet someone interesting. As for how the program comes together, even when I’m showing older artists, I think of the art that I show from a post-Internet perspective, being from a generation who are always thinking of themselves via the internet.

Where are your collectors from in terms of generation and geography? What is the balance between how you develop your collector base through online presentations, in your home cities, and at art fairs?

Kendra Jayne Patrick: That’s an interesting question for a lot of reasons. I came to the art world without a war chest or long-term family relationships in the art world, so collecting collectors for me has been a strange path. I started my program in 2018 but I began making shows in established art galleries. For example, [New York dealer] Stefania Bortolami said, ‘Why don’t you do a show in my viewing room?’ Other galleries were quite generous. Their generosity allowed me to build relationships.

Hua Xiaochan: Most of my Chinese collectors are under 30 years old. Most are well educated and they have very avant-garde tastes. European collectors are very slow, Chinese collectors are very fast. Some of our Chinese collectors buy from every exhibition – they want to grow with you.

Isabella Ritter: Since we are now in our 8th year, we have done fairs in all sorts of places, so we have quite a global collectorship. We have some experience with Asian, American, South American, and Australian collectors, and it’s interesting to see the difference in culture and buying behavior. In Europe, it’s more of an ‘Old World’ idea. People take their time. If you don’t do anything to disturb the relationship, people support you. It just takes a while. But I should add that a big portion of our collectors are institutions and they are slower than any European collector!

What are your greatest challenges in this moment?

Hua Xiaochan: The greatest challenge is to balance everything. We have been open only 3 years and we already have two locations. We need to build up a better and stronger program as soon as possible. If you get more artists and exhibitions, you get more investment. I also need to build my team. Because I have two locations, I need two teams.

Isabella Ritter: It’s a little like this for us as well. Who do you show where? How do you time exhibitions with art fair schedules? We have already reduced our art fair participation because preparation takes so much time, or the projects are too big for a fair so it makes sense to do it as an exhibition.

Kendra Jayne Patrick: For me, too, balance is a challenge. I cut my teeth in New York and now I’m here in Switzerland, which has made me only more committed to making shows in both settings. Having cross-cultural and international conversations is really important to me. I’m trying to stay lean. It feels like being nimble is the only way to survive – being open to doing things differently, in a setting you wouldn’t have considered.

You all have interesting stories to tell in terms of place. Why did each of you think it was necessary to have your distinctive footprint?

Isabella Ritter: It’s quite evident that in Kosovo there is no art market happening, so for us it was important to be in a more central place, to show the artists we work with to a bigger audience than at an art fair.

Hua Xiaochan: Since I’m Chinese, I chose Beijing, but also Berlin, where I live. They are both capital cities. Also, both are much more open-minded to culture. There is much potential. But the two cities were never connected; there was no gallery that bridged both cities.

Kendra Jayne Patrick: My partner is Swiss, and we were in New York and the pandemic hit and we were like, ‘We’re going to Switzerland.’ I do remember agonizing a bit in 2021 when things opened up. I was ready for a permanent location but wasn’t sure where. I considered Basel, but Bern makes sense. The Swiss can be down on Bern in the same way that New Yorkers can be down on Washington, DC. It’s slow but it’s beautiful. As for my space, there is something a bit cozy about it, which feels important to me. I want visitors to feel excited to talk and share about art.

Perez Art Museum PAMM