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olivereliott · 3 years

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Top Five Harley-Davidson Sportsters, Part One: Ironheads

Harley-Davidson has just rebooted one of the world’s longest-running model lines, with the launch of the new Sportster S. But remarkably, it’s only the third major engine update in the Sportster’s 60-plus years on this earth.

Before the new Revolution Max-powered Sportster S came, we had the Evolution motor that debuted in 1986. And before that, the iconic Ironhead. But throughout each era, the Sportster has always been a mainstay of the custom scene.

To celebrate, we’ve rounded up our ten favorite Sportster builds, divided by their motors. This week, we’re featuring five top-shelf Ironheads from some of the world’s best custom builders—including illustrious names like Max Hazan [above] and Hideya Togashi [below].

Next week, it’s the Evo’s turn.

Hide Motorcycle There’s a long history of Japan’s love for Americana, and the humble Sportster is no exception. Case in point: this Ironhead Sportster by Hideya Togashi of Hide Motorcycle (that’s ‘Hee-day’). It was one of the stars of 2018’s Mooneyes show—a show that Togashi-san is a regular fixture at.

The bike’s built around an original but refurbished 1966 XLCH motor, complete with a Linkert DC-7 carb. But the rest of it is mostly is custom, and it was built without any specific style or theme in mind. “As always, I cherish the balance, and maximize the beauty,” says Hideya.

The motor sits in a scratch-built nickel-plated hardtail frame, with the OEM frame number plate grafted on. Hideya kept the original steering head, triples and forks, but added custom sleeves. The Harley rolls on 21F/18R wheels with drum brakes.

Hideya fabricated the aluminum headlight nacelle and fuel tank, and built the oil tank. The rear fender’s been scalped from a vintage Harley FX Super Glide, then modified to suit. Swept back bars and a pair of beautifully-bent nickel-plated exhausts add to the vintage vibe.

The paint’s extra classy too—a 1930s Harley scheme laid down by Skop Paint Works. Hide’s Ironhead blends vintage speedway and flat track styles together to create a minimalistic and impossibly cool machine. The perfect use of an Ironhead motor. [More]

Hot Chop Speed Shop Here’s another bike that stopped visitors to the 2018 Mooneyes event dead in their tracks: a twin-engined Harley drag bike by Kentaro Nakano at Hot Chop Speed Shop in Kyoto. Using two Sportster XLCH engines, Nakano-san built the monster as a tribute to the drag racers of the 70s.

Unsurprisingly, it picked up two awards at the show—from the top Japanese mags, Hot Bike and Vibes.

‘Double Trouble’ uses a 1969 Ironhead in front, with an older engine at the rear. Both run with S&S Super B carbs, fitted with custom velocity stacks. Kentaro’s friend Kazuhiro Takahashi of Sakai Boring helped rebuild the engines.

The two V-twins are linked by connecting plates, and their output shafts are connected to two separate primaries. The transmission’s a four-speed from a 1980s Big Twin and Kentaro has set the timing of the two motors so that they go ‘potato potato’ at idle, but scream at high revs.

The whole arrangement is housed in a custom hardtail frame, fabricated from steel tubing. There’s a set of early 70s Ducati Imola forks up front, with 18” rims at both ends wrapped in M&H drag slicks. Kentaro installed a pair of Airheart brakes up front, with a Wilwood brake out back.

All of the bodywork was fabricated in aluminum, from scratch. Fuel sits in the cylindrical reservoir up front, with oil held in the seat ‘cowl.’ Custom upholstery from Atelier Cherry adds to the period-correct look.

Double Trouble’s finished off with a narrow set of custom drag bars, with a 1970s H-D tacho out front. The bodywork’s been left raw, with tidy Hot Chop Speed Shop decals on the tank. Buttoned up, it’s both elegant and monstrous. [More]

Hazan Motorworks Max Hazan’s work speaks for itself, but what’s remarkable is that the American builder’s had an unmistakable signature from day one. If you don’t believe us, then consider the fact that this Sportster-powered artwork was only his fourth build.

“I start with a motor that I find aesthetically pleasing, put it on the table, and build the bike around it,” Max told us back then. In this case, the motor is exquisite. Max built it up with two 1981 Ironhead front heads, split the rocker covers and added matching Amal carbs.

The frame was built from 7/8” and 1” steel tubes, and also holds the oil and wiring. The front-end’s a work of art on its own; it uses two springs under the fuel tank, and a damper behind the headlight. The only rear suspension is a pair of springs under the seat, with about 1.5” of travel.

Max had a set of 1920s car tires in his hands, so he built the bike up with a 30” wheel out front, and a 31” hoop at the back. They suit the scale of the bike too—which measures eight feet long, but weighs just 300 lbs.

Almost everything was fashioned by hand, using metal that was lying around the workshop, or, in some cases, small salvaged parts. There’s a frosted shot glass as a taillight cover, and a porcelain doorknob on the hand shifter. The handmade tank only holds 1.5 gallons… but Max is under no illusions about his creation having to be ridden far.

Eight years on, this Ironhead still stands as one of our favorite Harleys—nay, customs—and some of Max’s best work. [More]

HardNine Choppers The 1979 Harley-Davidson XLCR is arguably too rare to be customized these days, but the owner of this Sporty has three. So he had no qualms about handing one over to Swiss builder Danny Schneider for a makeover.

Danny, who operates as HardNine Choppers, is an ex-motocrosser who had previously built two Triumph flat trackers, and was itching to give a Harley the same treatment. So he took on the project with the provision that he could turn it into a tracker. Luckily, the client agreed.

Danny’s work went deep—starting with the motor that he bored out from 997 cc to 1,340 cc, with KB Performance pistons. The carb is from the Harley performance specialists, S&S Cycle, and the exhaust is a custom nickel-plated system that exits under the seat. Danny had to relocate the oil tank to accommodate it.

The custom fuel tank echoes the lines of the original XLCR unit, but it’s actually a slimmer, split design (the left side houses the oil). Danny hand-shaped an aluminum tail section too, with slits to help dissipate heat. He made the seat pad himself, too.

Suspension is by way of Showa shocks from an FXR, fitted with Öhlins cartridges, and Bitubo rear shocks. It rolls on 21F/16R spoked wheels, with a Beringer brake set that Danny drove to the French company’s HQ to have made.

This XLCR is a clever mix of classic style and modern parts, tied together with a host of custom touches and a fresh paint job inspired by a mini-bike spotted on the street (true story).

It’s also a great story of perseverance; Danny took a two-year break in the middle of the project to welcome his daughter into the world and battle testicular cancer. Then he crammed two month’s worth of 15-hour days in to finish it in time for the MBE Expo show in Verona, Italy. Much respect. [More]

DP Customs We’ve featured a slew of slammed and hot-rodded Harleys from the now-defunct DP Customs over the years, but this was one of their wildest. Brothers Jarrod and Justin Del Prado built it as a personal project between client jobs, using Justin’s own 1000 cc 1979 Ironhead Sportster as a donor.

DP Customs went all-out, starting with a turbo that had been sitting in the shop waiting for the right project.

The motor was rebuilt with forged pistons and new valves and springs, then the turbo was installed with a custom draw-through setup, and a Mikuni carb. From the custom aluminum intake and exhaust, to the custom oil system that runs into a Mooneyes tank, it’s an impressive setup.

Like three of the other Harleys on this list, this one features a scratch-built hardtail frame. It uses DP Customs’ signature 6” stretch and 4” drop, with a custom 19” wheel up front, and a modified 15” car wheel at the back. The front brake’s a Brembo, and the rear is a custom system with a combination sprocket and rotor.

Up top is a wafer-thin seat, with a traditional peanut tank up front. DP Customs installed clip-ons with Biltwell Inc. grips, and head- and taillights—but there’s no speedo, and no turn signals. The asymmetrical paint job, red frame and gold wheels should clash, but somehow they harmonize, maximizing the Harley’s eye candy appeal.

DP Customs admit the bike wasn’t built with practicality in mind, summing up that “it hauls ass in a straight line, and the brakes work.” [More]

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cakalakgeorge · 5 years

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New Post has been published on https://www.milliup.com/the-hot-on-da-block-tour-2020/

The Hot On Da Block Tour 2020

We invite you to the “The Hot On Da Block Tour 2020” Co-Sponsored and Co-Hosted by MilliUp taking place January 31st in the THALIAN HALL CENTER FOR THE PERFORMING ARTS, INC 310 Chestnut Street, Wilmington, NC 28401

The Hot On Da Block Tour 2020 is a unique concert event that gives access to the general public, theater goers, press and professionals.

“Connect your brand & story with consumers in a unique, monumental, and invaluable way! We will deliver a unforgettable experience in “The Hot On The Block Tour 2020” in an amalgamation of student life and prospective consumers, local press, brands, organizations, and general public.

ARTIST ROSTER

Host- ANGELA HARRIS

BOTTOM BOY INC

FOUR TON

LADY B

BOSS MONEY

MAKZ

ROGUES P & SCOTTY MAC

DARIAN PELMAN

ONE TAKE AND BLACK MAMBA

BLACK BOTTLE BOY BLUE

KENISE TAYLOR

TY 704 & SAVO KASH

RAPPING GRANDPA

ITINERARY

Boys & Girls Club Jan 31 8am-11am Boys & Girls Club 4 Hours Volunteer

1) Motivational Moments Speak on Bullying, Positive Attitudes, Goal Setting, 1 person Tell Children Background Story and how they had a positive outcome

2) Team Builder

3) 2 Performances

4) Plaque Ceremony

Vendor Set Up Jan 31 1pm to 3pm

Meet & Greet Jan 31 3pm to 6pm

Showcase Jan 31 Doors Open 7pm

Showcase Starts Jan 31 Doors Open 7:30pm to 10:30pm

Food & Beverage Available

All Ages Show

HOT ON DA BLOCK WINTER CONCERT TREATMENT

MEDIA ASSETS HOLDINGS COMPANY ™

120 WALL ST. 18TH FL C/O NFTE

10005

Johnny Torres

Owner/Managing Partner

[email protected]

(Internal & External Communications)

TREATMENT

“HOT ON DA BLOCK WINTER CONCERT 2020™” INDEPENDENT ENTREPRENEURIAL FILM AND CONCERT SERIES

Created by: Johnny Torres

Executive Producer:

Directing Coordinator:______________________

Genre: Independent Entrepreneur Film / Reality Series/ Concert Series

Title: HOT ON DA BLOCK 2020™ Where we learn about brands and their contribution to the culture, tactics for survival and pursuit of the American dream opening conversation and contributing to solutions in controversial topic and issues. Narrated by various artists & hosted by special guests.

Logline (short pitch): “YO! MTV Raps” meets “AMERICA’S GOT TALENT” brands participation. Premiering the lives, milestones of the entrepreneurs. See these brands at work, entertaining live, prowling in their circles. At key moments in their stories the brands update the public with their stories and productions being created simultaneously.

Synopsis: “HOT ON DA BLOCK 2020™” fills the void of what people everywhere experience trying to be self made intertwining it with the most informative content ever released in a fun and exciting way. Also shows them contributing to social causes.

Get inside and learn what makes them tick. See them juggling the demands of markets and business building in entertainment in the search for success. Watch their assertive demeanor in the concert series and events..

“HOT ON DA BLOCK 2020™” documents, and follows brands, providing a fascinating social matrix that draws the viewer to bond with their stories.

Each segment of the film and concert series will have portions devoted to different segments of the brands around their vision, minds and motifs.

“HOT ON DA BLOCK 2020™” – Our castings and Meet and Greets selects individuals in high-visibility businesses such as film, entertainment, advertising, fashion, sales, marketing, law, and the media. Brands efforts will be highlighted to show the stresses, successes, and situations that they encounter…and most importantly how they deal with those experiences.

“Friendship” – The bonding rituals of the brands will be highlighted as the overriding context. Our cast will be a close-knit group of up and coming brands & recording artists. Scene will include the brands meeting for counseling to discuss latest life happenings and frank discussions of the growth of HipHop in a global market.

Sample episode arc-

Intro – A small montage is shown of each young brand to refresh the viewer about their background, , life, and current situation in the video series. This is quickly recapped as we watch the actors in scenes at work and socially, and ends with the actors meeting at a “HOT ON DA BLOCK WINTER CONCERT 2020™” EVENT, or shooting location.

Initial Highlights of advice, shooting tips, etc– Fascinating business advice tips etc recaps from previous days, or recordings, interesting gripes about the workday and/or family, emotional moments among the actors, all of these highlights are shown in 2-3 minute clips per segment/issue/moment.

Health Focus #1 – Recap a current actors drug free, health life and splice it with commentary from one or more of the actors at a gym. Show the actors out on a workout or getting healthy at a gym.

Career Focus – Next the video series will move to one of the interviewing guests (professionals). The preparation, anxiety, delivery, resolution, and reaction to one of the actors location and where it is going to be filmed. Use shots of the location, the other young brands dancing and enjoying the interview and performance, and the actor discussing it happy after the circumstances.

“HOT ON DA BLOCK 2020™” Committee & Cast – participates asking the young brands questions before they interview and shadow professionals.

Friend Focus # 2 – The young brands gather together to discuss how the interviews and shadowing went, what were the results of the interviews and shadowing and a production.

recap – At this point the film segways into a show reinforcing the young brands bonding between them and their advertisers, sponsors, mentors with shots of them together. Clips from filming that fill in the gaps of the creative and production process of their brand and product and career focuses are shown. The advice, reassurance, and support between the mentors and young brands are highlighted. Any additional outlandish or hilarious stories are played out.

Discuss! – Give the viewer a website link to view and comment on the Film project, Concert ad Video series. Switch the series to a viewing party at a local Middle, School, University, Theater spot where we see the audience’s reaction to the video series. Close by flashing the website again and an opportunity for the young brands to post a video of their friends and be the next set of “HOT ON DA BLOCK 2020™”.

HOT ON DA BLOCK™ WINTER CONCERT 2020 BIOGRAPHIES

+HOT ON DA BLOCK™ WINTER CONCERT 2020

January 31st 2020

The Hot On Da Block™ Winter Concert is a fast growing hiphop production exhibiting a mixture of live performers and entertainers performing a unique colorful vibe to the musical landscape .

(Scene 1)

HOLLYWOOD ANGELA HARRIS

BIOGRAPHY

Angela Harris, also known as “Hollywood Angel,” is a purpose journalist and native of Panama City, FL. She was born with a knack for God, people, education and entertainment!

Angela earned a Bachelors of Science Degree in Broadcast Journalism from Florida A&M University, one of the top HBCU’s in the US. Home to the Rattlers and the Marching 100’s Band, in the heart of the Capital City!

Hollywood Angel earned her 2nd B.S. Degree in Film from Full Sail University, one of the finest Art schools in the country, located in Winter Park, FL. She has hopes of becoming an Entertainment Lawyer in the near future and currently manages artist, Knolo Stacks of Block Ink Ent, is a PR for IUU MUSIC Hong Kong has conducted A&R and PR work for many in the industry including Que Mussolini, 4G Rap Music, Charisma Mufasa, Swift Slay, Black Ice, Kenyon Glover, Donnell Williams, Jamil Flores, Geechie Dan, Polo the Fur King, Shi Lewis, Jermel Howard and so many more!

Angela has experience as an Opinions Editor, Assistant Editor, and Contributing Writer. She has director credits from creating her own movies and commercials, she is skilled in photography, public relations and social media management.

Some of her work includes: Journey Magazine, OZONE Magazine as a featured Model, Miami Kustoms Magazine, Flaim Magazine, BTMB Magazine, the FAMUAN and Capital Outlook newspaper. She has worked on music videos with Boyz 2 Men, Nino Brown, Blood Raw, Rapp Brown, Percy Townes, Swift Slay and BBMG. She directed: “Acquaintances, My Friend, Whatever,” a short story on stereotypes of African Americans, an HIV/AIDS awareness PSA which was submitted to a national contest for Global Aids Awareness, and she had the opportunity to submit a test Doritos commercial for the Super Bowl through Full Sail University. Angela has been in front of the camera on many occasions as well as BTS. One of the 1st movies Angela played a role in is, “Chain Reaction,” featuring Rick Ross in character, directed by MBezzy and filmed by Total Kaos! She is also featured in “Forgive Us Our Sin,” by Antoine Gomire, a Chicago Filmmaker and has been cast for “Forgive Us Our Sins II.” Angela is also committed to starring in her 1st feature length film, “Just a Closer Walk,” by John Fredericks, where she will play a role as John’s mother’s best friend!

Angela loves the beach, sunny weather and seafood. She enjoys spending time with family. And she is extremely excited to be the new Editor-in-Chief for BDL4LIFE Magazine and a current A&R for BDL4LIFE ENT!

“To all of our current supporters, thanks for embracing me with open arms and entrusting me to take BDL4LIFE Magazine to another level! And to all of our future clients, we welcome you with open arms and are extremely happy to bring our supporters a wide array of features, marketing, advertising and promotional opportunities!” Let’s work 2018!!

To Contact Email: [email protected]

IG: bdl4lifemagazine

Facebook: BDL4LIFE MAGAZINE

Website: BDL4LIFEMAGAZINE.BLOGSPOT.COM

(Scene 2)

LIK BROTHAZ

BIOGRAPHY

Praised by music fans The LIK BROTHAZ are “captivating”. Performances draw from their notable “style of intellect, message and emotions,”

The LIK BROTHAZ are currently recording their debut album, INFLUENCE, featuring new works and will be released in 2020.

Through their engaging and thought-provoking songs, branded by listeners as genuinely exciting” and “imaginative,” the LIK BROTHAZ Ty Boogie and Diddy Bop acclaim for bringing “young emotional power” to bold new sounds, and for their “fun masterpiece” performances- The group will tour extensively across North America giving both debut appearances at Thalian Hall Wilmington NC January 31st as part of a concert series.

Based in Kentucky, the LIK BROTHAZ have been presenting themselves in schools and sporting events throughout the 2019 season, leading the public to applaud them as “a new generation of icons, who cogently traverse a range of repertoire staples and entertain.

Previous recorded music video engagements include: the 2019 Southern Elementary & UK a rendition to the University of Kentucky..

The Duo is getting booked solid to perform extensively throughout North America, and abroad.

Formed in 2019 and combining 2 distinctive musical personalities into a unique collective, the LIK BROTHAZ draw their name from “LIKE BROTHERS,” noted for their respect and love for each other and others with incredible detail.

(Scene 3)

Supa Cool

BIOGRAPHY

Anthony Walker better known as RealSupaCool, was born on Novemeber 14th 1985 in Germany. After moving back to the United States, he began his journey to discover his gift of music. Elementary school was tough not because of the work but because of anger issues due to divorce from mom and dad. From there he found his calm thru the music he listened to and used that energy to channel what would become greatness.

RealSupaCool got his official start in middle school where a good friend named Matt told him about the program Fruityloops (FL Studio, which was at version 1.9 at the time). It allowed hia vision to be produced in beat format using the software he just gained. Soon talent shows and other artists began to discover him as not only an artist but an extraordinary producer as well.

His past influences are artists like (2Pac, Biggie, T.I., Jeezy, Outkast) and producers like (Dr. Dre, Mannie Fresh, DJ Toomp, Organized Noize) just to name a few. He has been making quality tracks for over 20 years now and has worked with many people in the industry (Kevin Gates, Bezz Believe, Shaq, Starlito, Gucci Mane, Bubba Sparxxx, Jackboy 1800, OG Boobie Black).

What the future looks like is simply a mission to the top of every chart that can be made in music. Currently he is a member of Chessboard Enterprises and is a minority shareholder as well. “My job is to make sure we experience the levels that I’ve already seen in this industry. This time we do it on our terms as a family like we supposed to.”

(Scene 4)

BOTTOM BOY INC.

BIOGRAPHY

Bottom Boy Inc hailed by fans for their hardcore energy is equally on a world-music stage or performing a concert. The Bottom Boy Inc. come together when CEO Johnny Fabian seeks out talent as T.A., BBI Bray, Young God, and Bobaine. and begin successful partnerships from their love for the music— which features a seamless blend of traditional hiphop and crunk music—leading to a busy global touring schedule and a growing catalog of critically acclaimed recordings garnering notoriety.

Committed to performing their debut GET DOWN OR LAY DOWN album music premieres MY DOG , SLIDE, STEPPED ON along with their best compositions.

BBI The Bottom Boy Inc become connected the concert series striving actively and expanding their repertoire, with contributing works to be announced. . Appearing frequently in diverse non-traditional spaces, night clubs and art galleries the groups forms an unforgettable experience.

(Scene 5)

LADY BLING

BIOGRAPHY

LADY BLING is one of the best recording artists to descend from Memphis, Tennessee.

“Nothing short of remarkable…Lady Bling simply, brings whatever she narrates over to glorious life. That is how music fans describe her. Whether rapping about hustling, struggles, or telling a story her diverse repertoire captivates audiences and critics with her gritty yet charming stage presence, and entertaining presentation.

Lady Bling‘s renowned SLAUGHTER TIME 2 ALBUM offers a unique combination of a pure voice and seamless blend of songs and artists ensembled.

(Scene 6)

Mr. Smith a.k.a BO$$ MONEY

BIOGRAPHY

Meet Mr. Smith a.k.a. “BO$$ Money” — many have been impatiently waiting.

Performing “Do Your Thang” his promise into a persuasive message that resonates an adult and mature melody creating attention. In this event, BO$$ Money through fly sex appeal and setting a trend BO$$ Money is reaching audiences elevating excitement and a memorable show.

Applauded by fans a perfect encapsulation of today’s genre-bending trend in Twerk music,” and by like-minded,” BOSS MONEYs interpretation of Do Your Thang! makes him one of the most dynamic artists of the culture and generation.

(Scene 7)ROGUES P DRR

BIOGRAPHY

The DARK REIGN ROYALTY camp has earned praise from audiences and critics alike for their show performances, compelling recordings and distinctive repertoire. Hailed as “…a tight-knit explosive with power and un-concealable ambition to connect with their newly found listeners”.

DRRs connection with its audiences repertoire is diverse, ranging from songs by ROGUES P and SCOTTY MAC such as Your Desire featuring New York’s own pride. DRRs subsequent performances has gained praise culminating with performances as part of the concert series.

DRR is based in Long Island NY.

(Scene 8)STATEN STARS

BIOGRAPHY

(Scene 9)GEE GEE

BIOGRAPHY

(Scene 10)

Living Darian

BIOGRAPHY

Cincinnati, Ohio born Darian has led a challenging life resulting in ultimate victory. His birth father, onetime James Brown guitarist Calvin Goshade, returned to touring during his mother’s pregnancy and had no idea he had a son and his mother, Shelia Faye Owen, attempted raising him and his two sisters before cancer felled her ten days before Darian’s fifth birthday. Owen had chosen individuals to care for her children upon her death but sexual abuse soon fragmented the grieving children – Darian’s sisters were adopted and Darian moved thirteen times over the next three years before William and Marilyn Pellman adopted him.

Perhaps it seems natural, given his DNA, that Darian found music soon after. He started playing drums at the age of ten, began composing his own music by his fourteenth birthday, and had his own studio at the tender age of eighteen years old. He logged seven years as a member and executive producer of the band Non-Fiction but differences eventually dissolved the unit and Darian has worked as a solo artist since then. His album release Live For Love illustrates a vast array of influences – much of his material draws from hip hop, but blues and rock alike make their presence felt as well. His multi-instrumental talents fuel the sprawling eighteen song collection and his production work shaping the release distinguishes its sound.

The opener “Hit the Highway” melds his rock influences with a high velocity hip hop styled delivery. There’s a light synthesizer touch adding color to the track at key points, phased guitar riffing, and simmering energy keeping the track on a headlong path from its first seconds to last. This is a strong way to begin the album and the variation Darian brings to his vocal delivery further sets the song apart from similar efforts. The album’s title song opens with pensive and lyrical piano before expanding into a mid-tempo hip hop groove. It features second vocalist Jangles as a featured guest and his voice provides a low-key dramatic contrast with Darian’s own. Darian intends this song to stand as a definitive personal statement about his own destiny and what he wants from his world; the mix of attitude and musicality provides a perfect forum for such aspirations.

“These Things” is another mix of stylistic approaches opening with a blast of soul before incorporating his hip hop sound into the composition. It is impossible to not be impressed by the seamless way he blends seemingly disparate musical strands into an unified whole; other artists can’t pull such a synthesis off without it sounding disjointed and poorly conceived. “Down by the River” has a light funk edge and a moody near singer/songwriter sensibility unlike anything else discussed thus far in this review. The performance dispenses with the hip hop influences prevalent throughout much of the album in favor of a stripped down musical attack built around Darian’s voice and guitar.

“Gullible” has a slinky groove snaking its way over the course of three and a half minutes Darian matches with an understated vocal throughout. It is one of the release’s hidden gems and should be compelling in a live setting. The album concludes with a reprise of the title track sans Jangles’ vocal contributions – this take on the track varies little from the previous version but the additional emphasis on Darian’s performance gives it a greater personal quality than ever before. Living Darian’s latest release Live for Love is the peak so far in a short career, but he’s accomplished more as an artist than many of his contemporaries manage over decades. It is bracing to think about how early he is in his journey.

(Scene 11)

JOHN FOUR TON

BIOGRAPHY

(Scene 12)

RPG a.k.a. Rapping GrandPa

BIOGRAPHY

#Hollywood Angel #Angela Harris #Bottom Boy Inc #Custom written articles #DArian Pelman #Gee Gee and the lik brothaz #Justin Case #Lady B #MilliUp #MilliUp!dotcom!#Rogues P #The Hot On Da Block Tour 2020 #Articles

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supastareden · 6 years

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Bringing Hip Hop Back to K-pop: A Retrospective on B.A.P's Career

March 3, 2019 Qing

Following leader Bang Yongguk and youngest member Zelo, who announced their departure from TS Entertainment last year, the remaining four members of B.A.P have recently confirmed the non-renewal of their contracts as well, wrapping up B.A.P’s 7-year run as a group. The news comes as no surprise, given TS Entertainment’s poor track record of managing and retaining artists, as well as the exploitative circumstances prompting the lawsuit the members filed back in 2014.

What is perhaps more surprising, and less known, are the lyrical and musical influences they re-introduced to the K-pop scene, the effects of which we continue to see in their hugely popular contemporaries, including BTS and Got7, and in rising groups like Monsta X and Stray Kids. From the moment they debuted, B.A.P carved out a sonic niche, boosted by clever marketing tactics and lyrics that boldly veered away from familiar themes of romantic love.

For sure, B.A.P’s music may not sound all that revolutionary today. But to fully understand what was unique about their sound, it is necessary for us to go back in time for a moment to consider what the K-pop scene was like in 2011, the year leading up to B.A.P’s debut in 2012. Electro-pop and synth-pop were the go-to genres for male groups—think TVXQ‘s “Keep Your Head Down”, Big Bang‘s “Tonight”, and Super Junior‘s “Mr. Simple”. Theatrical dance pop with an emphasis on symphonic flourishes and melodic choruses were also in trend, epitomised by hits like Beast‘s “Fiction” and Infinite‘s “Be Mine”. Rapping was a standard feature, but rarely the centrepiece of title tracks. Predictably, most releases at the time spoke of attraction or heartbreak.

youtube

This was the scene that B.A.P broke onto, quite literally—at the beginning of the “Warrior” MV, a figure dressed as Matoki (the group’s mascot) smashes the viewer’s screens as the group launches into their song, a gesture symbolic of the boundaries their music would transcend. With its blazing synths, shrill whistles, Bang Yongguk’s deep, growling voice, Zelo’s rapid-fire rapping, and Daehyun‘s soaring vocals, B.A.P’s musical take on hip hop was decidedly militant. “Warrior” was a deliberate shock to the senses, and whether it was your cup of tea, it was clear that it hit one of the marks of a good debut: it was anything but forgettable.

Yet there was more to the novelty of B.A.P’s debut: they brought back to the K-pop scene not just the sound of hip hop, but its socially conscious spirit. They were by no means the first group to engage with this aspect of hip hop; hip hop and K-pop go a long way back. The very beginnings of K-pop can be traced to Seo Taiji and Boys, whose idiosyncratic take on hip hop in the 1990s proved wildly popularwith youths, and Deux, a duo also influenced by hip hop. Their success spawned the creation of first-generation idol groups like H.O.T., Sechskies, S.E.S., and Fin.K.L.. Social critiques pervaded the promotional tracks of the hip hop-influenced groups, with songs like Seo Taiji and Boys’ “Classroom Idea” levelling charges at the Korean education system and H.O.T.’s “Warrior’s Descendant” lashing out at bullying.

While hip hop maintained a presence in the early 2000s through artists like Epik High and Leessang, mainstream idol groups tended to favour other genres, especially ballads and dance pop. Socially conscious lyrics resurfaced briefly through TVXQ’s “‘O’-Jung.Ban.Hap” and Super Junior’s “Don’t Don”, and Big Bang’s experimental music fused the sounds of hip hop with pop and R&B. 2PM debuted with a hip hop sound with “10 Out of 10”, but like Big Bang, they were not as interested in the socio-political roots of the genre, and shifted to R&B and dance pop for subsequent releases. So for the most part, the combination of the sound and content of hip hop receded into the background as other trends took over in the latter half of the decade.

youtube

It was in this context that B.A.P geared up for their debut, preparing to re-introduce hip hop and its social consciousness to the K-pop world. Bang Yongguk and Zelo’s pre-debut release, “Never Give Up”, gave a sampling of the lyrical content to come:

Taking thousand-dollar private lessons This system that emphasizes grades over friendships This pressure called exams This burden called college The stress that is building up Would my parents know?

The lyrics, penned by Bang Yongguk, also held a more personal element:

My dream is to hold a mic and rap But again, I grab a pen and write down math formulas today Yeah, things that we learn at school Are losing dreams and always giving up

As a group, B.A.P’s lyrics are phrased more broadly, with less targeted critiques, but a similar galvanising tone — “Warrior” is a promise to “fight for the souls in this street” against “hidden system[s]”, while “Power”gestures towards a world with no justice that “surrenders to money” and urges, “Don’t yield in front of them / Don’t do that, lift your head up / We got the power / Stand up against them and fight”. The move to bring back the spirit of hip hop that their seniors in the industry once embodied is a fact the group were conscious of—the title of “Warrior” and its opening line, “Warrior is back”, are likely nods to H.O.T’s “Warrior’s Descendant”. (B.A.P also covered the song twice, for an MCountdown episode in 2012 and the 2016 KBS Song Festival.)

Lyrics aside, B.A.P also reworked hip hop to create their own signature sound; common features included a stomping beat, whistles, an aggressive rap style, and powerful, operatic vocals. These were often interwoven with elements taken from broader dance ballad trends, such as orchestral flourishes, best seen in their dramatic 2013 masterpiece, “One Shot”. Even in “1004 (Angel)”, which is as close to a conventional K-pop dance ballad as the group ever ventured, unexpected touches like blues guitar chords, and the effective pairing of silences with vocal refrains that gain momentum and soar, lent the track the sense of power that characterises many of B.A.P’s title tracks.

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The road to realising their musical niche was not, however, without its potholes. After putting out a string of sonically coherent, distinctive releases—”Warrior”, “Power”, and “No Mercy”—the group suffered from conceptual whiplash with “Crash” and “Stop It”, seeing them abruptly shed their aggressive, anti-establishment image and transforming into boys swooning in love. Another worrying sign that our writers back then had picked up on was just how over-promoted and overworked the group was.

Still, the news of B.A.P’s lawsuit against TS Entertainment in 2014 came as a shock. In a cruel twist of irony, they found themselves living out the struggle their lyrics depicted, fighting against exploitative circumstances, including but not limited to being severely underpaid and forced to work in poor health conditions. From the time of their last proper comeback with “1004 (Angel)” and First Sensibility till they reached a settlement with the company and returned in November 2015, 1 year and 7 months had elapsed—a hiatus long enough to weaken the standing of even A-list K-pop groups. For B.A.P, who had only just begun to see the fruits of their labour—”1004 (Angel)” brought them their first music show win—such a prolonged absence was, needless to say, a severe setback for their career.

BTS, who had debuted a year after B.A.P and were also pursuing the sounds and socially conscious lyrics of hip hop, had been steadily gaining traction in the meantime. It was during B.A.P’s absence that BTS achieved a breakthrough with The Most Beautiful Moment in Life Part 1, securing a leading spot in the ranks of hip hop idol groups. Given this and the sheer length of their hiatus, it was understandably difficult for B.A.P to return fully to this niche and have the same degree of commercial success. Their first comeback after the lawsuit, “Young, Wild, & Free”, pushed a message with underdog vibes similar to “No Mercy”, but musically, it lacked the same punch, despite containing some distinctively B.A.P elements and a noticeably more controlled, mature delivery.

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Despite the disadvantageous circumstances surrounding their return to the scene, the group persisted in their musical growth. They ventured into more uptempo, pop territory with “Feel So Good” and “That’s My Jam”; though neither were especially experimental, both were solidly produced and infectiously energetic. They soon followed up with Noir, the best album of their career, returning to a theatrical sound with its title track “Skydive”. Longtime followers of the group would doubtless have been heartened by “Wake Me Up”, a subtle return to their socially conscious beginnings, but with a more refined sound incorporating electronic beats, beautiful hooks, and falsetto vocalisations for a stirring, dramatic track.

Although B.A.P’s final title tracks, “Honeymoon” and “Hands Up”, didn’t quite meet the standard of their earlier releases, an overview of their discography from debut to date reveals that they’ve already left their mark on the industry. Their lawsuit and long hiatus may have held them back from achieving a level of commercial success on par with their potential, but their music rarely succumbed to trends. Their earlier tracks, especially, drew attention to the possibilities and value of a hard-hitting, anthemic, rap-forward, yet strongly melodic sound.

While it’s hard to assert that B.A.P had a direct influence on later groups, their debut clearly signalled the revival of K-pop’s interest in hip hop, and the beginning of experimentations with a heavier, more aggressive soundscape. BTS would take the renewed interest in the social consciousness of hip hop in a more culturally specific direction, pursuing a cleaner sound initially before weaving in rock influences; Got7 drew heavily from hip hop street styling and beats in their early releases, but pursued a more playful, pop-laced sound. Monsta X’s discography recalls B.A.P’s blend of aggressive rapping with soaring melodies, working in contemporary trends in EDM to produce their own signature sound.

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Even as B.A.P’s future as a group remains up in the air with their contract non-renewals and Bang Yongguk and Himchan‘s impending enlistment, the end of this chapter of their career is also a sign of new beginnings. Bang Yongguk, in particular, is already a step ahead with the gutting pre-release, “Hikkomori”, and his first full album, BANGYONGGUK, due out on March 15. If the other members can find a similar artistic freedom—one that TS Entertainment never fully granted them—while still holding tight to their previous drive to find their own sound and voices, the possibilities that await them will be, indeed, as powerful as their music.

(YouTube. TheBiasList. Lyrics via Popgasa. Images via TS Entertainment.)

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