Under1Roof: The Asian Hip Hop Phenomenon (Part 3)

D-Coy (right) and his hype MCs performing at the Junksounds Regional Awards Night in Manila in March

PHILIPPINES
Being a former colony of Spain and America naturally made the Philippines a musical stepson, where the nation takes claim of any past or current legacy legitimately theirs. This notion is a huge supplement to the nation’s progress musically. The godfathers of Pinoy hip hop (or flip hop) in the mainstream, Francis M (RIP, March 2009) and pioneering group Bass Rhyme Crew, both created a path in the 80s not too long after DMC World DJ Championships was established. At a very early stage, Pinoy hip hop heads started to show their prolific and diverse nature by releasing trilingual albums (Rapasia) and getting DJ production crews (Mastaplan) involved. In turntablism, an art form known to dominate stateside, homegrown turntablists the likes of Coki and Arbie Won stepped to the plate. While in graphitas (graffiti), PSP, SBA CRU, KST and CIS consistently “bombed” the town.  

Flip hop boasts many institutions, such as the Blazin Freeestyle Battle, Philippines Hip Hop Music Award and the Dongalo Awards, acknowledging different fields in the culture as far-reaching as subcategories like Best Represent Rap, Best Love Song Rap, etc. Household names like Beathmatics, Mike Swift, D-Coy, Gloc-9, Pikaso, Dice & K9 and Nimbus9 hold it down and keep the identity of rhyming rich in substance and showmanship, with stacks of entertainment value. The Filipinos’ time to storm into the scene is only deterred by their Pinoy pride, where they choose to focus domestically, but an invasion is slowly underway. 

Foner

THAILAND
Like most South East Asian countries, hip hop music really took root in Thailand in the 90s, initially among the middle to upper class teens with access to music channels and the internet. Thai language hip hop was pioneered by Joey Boy, who released a self-titled debut in 1994 followed by nearly a dozen releases, a movie role and involvement in a rock opera musical adaptation of Thailand’s national epic, the Ramakien. 

The new millennium has brought a new breed of Thai rappers who continually push boundaries. Solo act Dajim courted controversy and was arrested when his song, whose title translates to ‘Why Bother?’, was played by club DJs whenever authorities tried to shut down the clubs early. As a result of this, the first two albums in his discography were banned, and when they resurfaced for retail years later, he was arrested again. 

Thaitanium, who emerged around the same time, currently reigns supreme in the local urban scene, merging their musical sensibilities and business savvy, and translating them into a group of businesses that encompass a record label, studio, new media company and clothing labels. They’ve also set up an event/talent management company, giving home to Djay Buddha, Big Calo and Bangkok Invaders. Crews like Ground Scatter, Romeo Zerious and 99 Flavor hold it down on the lino while Zids and Foner continue to bomb the walls of BKK.

WORDS 1ASIAHIPHOP PHOTOS 1ASIA & KEITH DADOR
www.1asiahiphop.com

*Taken form Junk's June 2009 issue. Click HERE for Part 1 of the series, and HERE for Part 2!