Breakbeat Magazine

DECEMBER 2010 · THE NERD ISSUEDONALD GLOVER, DAS RACIST, AND NERDCORE’S 10TH BIRTHDAY

BREAKBEAT

BREAKBEATDECEMBER 2010 · THE NERD ISSUE

DAS RACIST“White people, play us for your black

friends. Black people, smack them.”

DONALD GLOVER“Who’s that rapping? Yo, it’s

Troy from Community!”

NERDCORE TURNS TENAnd they’ve been having plenty of fun without you.

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BREAKBEATDECEMBER 2010THE NERD ISSUE

678101415162022

REVIEWS MUSIC, MOVIES, BOOKS, RESTAURANTS, NIGHTLIFEA DRINK WITH QUEEN LATIFAHPICTURES OF SNEAKERSCOMIC TATSUYA ISHIDA

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566264

QUOTABLES EMINEM, ET. AL.TWEET TWEET 50 TWITPICSNIGHT OUT JAY-Z IN TOKYO

DESERT ISLAND PICKS ZANDRETHROWBACK 1994

VERSUS ICE CUBE VS. ICE-TRAP MAPS CHICAGO, IL

COOKIN’ WITH MIX MASTER MIKEPRIMER FRUITY LOOPS

6 WWW.BREAKBEATMAG.COM

EDITORIAL

ART

AD & OPERATIONS

WEB & ONLINE

EDITOR’S LETTER

BREAKBEAT1234 BOYLSTON ST. STE 56

CHICAGO, IL 60604 USA

EDITORINCHIEF JEANNIE HARRELL

EXECUTIVEEDITOR HANS LANEEDITORIALDIRECTOR JAN BONOFEATURESEDITOR ELI HOLMESREVIEWSEDITOR LEE HYORIFASHIONEDITOR TONY BOURDAIN

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ENTERTAINMENTDIRECTOR JO ASHGOODS&RETAILDIRECTOR JI LEE

CALL312 555 1234 FAX312 555 5678

Even if you’re not the type to study until the night before the test —sometimes the morning of—you gotta admit there’s a little bit of nerd in all of us. Get real: there’s gotta be a video game that you’re known to throw controllers over, or a movie you can recite line for line (unfortunately for everyone watching with you), or a book series that you can sit down to read over breakfast and have finished by the time dinner’s ready. Everyone’s got their own personal obsessions.

As we were working on this issue, we realized that the hip-hop community and the nerd com-munity have a whole lot in common. Donald Glover, who’s on our cover looking fly as hell in his Buddy Holly glasses, told us in his interview that it’s “strange, specific stuff” that makes a nerd a nerd. Not just attention to detail, but obsession with it. The desire to get it right, to go cover to cover, to leave no question unanswered. Perfec-tionism. Drive. Passion. Hip-hop is all about going hard, and when you think about it, you realize that nerds go hardest of us all. You’ll see that in our conversations with Heems and Victor of Brooklyn’s Das Racist, and Negid Farhad, co-director of the 2008 documentary Nerdcore Rising.

And as always, this is a third paragraph that briefly describes what’s in the front-of-book and back-of-book content. For real, though, you really ought to check it out.

[email protected]


QUOTABLES

I think touring with Trey Songz is an effective way for me to stay relevant.

Pacey Witter is a genius. He made the album what it is.

I don’t want to wait for our lives to be over. I want to know, right now, what it will be.

— Eminem, in his appearance on The Daily Show (Octember 24, 2010)

— Travie McCoy, when asked about working with his musical hero on his new album

— Usher, at the 40/40 Club in New York, NY

DECEMBER 2010 9

TWEET TWEET

WE ASKED, YOU TWEETED

So me and oprah made up but I still think she’s mad about the knife thing. Lol

@50Cent (9/21/2010 4:30pm)

Best place to get a #sandwich in the South Side? #Chicago

@BreakbeatMag (10/2/2010 11:10am)

hey #chicago, @BreakbeatMag needs a sandwich in the south side.

@EdgarAPoe (10/2/2010 11:12am)

@BreakbeatMag I like Jimmy John’s for a South Side #sandwich #Chicago

@ImSoooBasic (10/2/2010 11:14am)

@BreakBeatMag LOL y u thinkin bout lunch so early? GET BACK 2 WORK!! #sityoassdown

@ChiTownBoss (10/2/2010 11:15am)

yo @BreakBeatMag you gotta check out some ban mi... see if you can get it with cherub imagery though

@kanyewest (10/2/2010 11:13am)

Nice to see that Fifty and his baby boo kiss and make up. You know what they say—a dog is a P-I-M-P’s best homie! Hahahah, ohhhh gawd, that was awful. Please forgive me, I just need to get lines out of the way. Go shawty, it’s your birthday. We gonna pahhhhhhty like it’s your birthday. Okay!

TWITTER PIC OF THE MONTH

TRENDING TOPICS EXPLAINEDLast month: this, that and the other thing. Man, I don’t know, rappers are weird.

#ItsPinkFridayHoeFar away, behind the word @NICKIMINAJ mountains, far from the countries Vokalia and Consonantia, there live the blind texts.

#SinceWereBeingHonestSeparated they live in Bookmarksgrove right at the @RevRun coast of @kanyewest the Semantics, a large language ocean.

#IfBieberMetLudaA small river named @JustinBieber flows by @ludajuice place and supplies it with the necessary regelialia.

#YouMightBeTheUglyFriendEven the all-powerful Pointing has no control about the blind texts it is an almost unorthographic life.

#HideYoKids, #HideYoWife@Akon, @SouljaBoy, and @thisis50 far, far away, behind the word mountains, away from the countries.


NIGHT OUT

jay-z live at makuharinovember 8, 2010tokyo, japan

DECEMBER 2010 11

NIGHT OUT

Bowdoin Station, the first station on the downtown end of the MBTA Blue Line, is closed on Saturdays, Sundays and holidays. This is not something Heather Buelow and Patrick Roddy had accounted for, and it means they have to get off at Government Center and walk an extra

stop. “That’s what Google told us to do,” Patrick says, “but we thought the internets would be full of lies.” He grins, shaking his head. I can see Patrick’s mismatched socks from the holes in the little toes of his worn black Chuck Taylors. Heather, meanwhile, has got on sensible hiking sneakers.

From the ankles up the two look practically in uniform—glasses, black windbreakers (with the hoods up), medium-wash blue jeans, the strap of a messenger bag draped across the torso. Both bags contain pairs of gloves, hats, and their respective iPhones. Heather’s bag con-tains a camera and a set of carefully trimmed, numbered and anno-tated Google Maps print-outs; Patrick’s is carrying some zip-lock bags and an umbrella he has purchased at the CVS by Government Center. The big blue umbrella, about two feet long folded, hangs awkwardly across his bag, its handle bulbous, like a spongy cartoon doorknob.

We’re walking out of the CVS, towards Bowdoin. It’s well past 10AM, our planned starting time, on Sunday, November 15, 2009. “We were so on point yesterday with our starting time,” Patrick says. Between the stunted start and the sprinkling morning rain, maybe today doesn’t look too smooth. But when your goal is to walk the whole Boston T system, and your plan for the day is to take care of the Blue Line, you can’t let shit like this trip you up.

The project only began yesterday, when Patrick and Heather did the Orange Line. It rained. All day. Patrick had even begun to identify the types of rain, and had named them according to the station at which

It’s not easy to believe that, between starring on NBC’s Community, writing with his sketch comedy troupe, and performing stand-up, Donald Glover has time to be as good a rapper as he is. But go figure.

Interview by Burt WardPhotos by Brian Moreno

29

manOF THE

HOUR

he’d first encountered them. “Like, ‘Oh! This is Wellington rain!’”

“Wellington rain sucked,” adds Heather. “That was when it monsooned on us.”

If there’s a wet beyond soaking wet, Heather and Patrick know it. The lens on Heather’s camera had gotten all smudged (hence the purchase of zip-lock bags for today; they guard electronics from rain). The dye from Patrick’s sneakers had seeped through, turning his feet black. Beneath their gloves their hands had gotten pale and pruny. Through their jeans, soaked heavy with rain, their asses were wet.

Patrick dreamed last night that they’d missed a stop on their walk. The station in his nightmare had gone defunct, and he’d panicked, wondering whether or not to to tell Heather. “I can see how that’d be traumatic,” I tell him. “Then you’d have to do the whole walk over again.” I’m joking, but Heather only says, “Yeah.”

The Blue Line is relatively short—only about six miles, twelve stops between downtown Boston and suburban Revere, Massachusetts. We detour at Aquarium station to walk as close as we can to the edge of land; the T goes under the Massachusetts Bay between Aquarium and Maverick stations, and Heather wants to get as close as we can physically get to walking that distance before we hop on the T to cross the bay. I’m adding an extra line here.

We stop for a quick moment outside the New England Aquarium. “This is for Sara.” Heather quickly snaps a photo of the seals, bobbing up and down in their big glass tank. With a smile, she declares, “Now shut the fuck up.”

The Sara in question, a friend of Heather’s, had left a comment on a photo from the Orange Line walk that Heather had posted to Facebook. Sara had wanted to see more views of the city, rather than just the subway stations. You’d think someone this enthusiastic about city-walking would be interested in veering off the paved streets, discovering a Boston they’d never known before.

In fact, the whole reason Heather and Patrick had gotten this ridiculous walk-the-entire-T idea in the first place is through Jason, a mutual friend of theirs who’d visited Boston from New York City. Jason helps organizes scenic urban hikes; for instance, the Bridge Walk, a thirty-three-mile all-day trek to cross every bridge in New York City, detours toward sev-eral city landmarks. Jason and his NYC crew want to see things. But this isn’t Heather’s style. Heather’s


Strange, specific stuff makes a nerd. If you go up to Kanye

West and say, “Hey, what are your favorite things?”

He’ll say, “Robots and teddy bears!” That’s a nerd.

take? “This subway system: let’s walk it.” Another line, another line, another line, la di da di da. Let’s have some fun.

When we emerge from Maverick station the weather’s gone from wet to muggy; the rain is barely an afterthought. Heather has marked out a pedes-trian trail on her map between Maverick, Airport and Wood Island stations; we find it and continue on our way, Heather in front, Patrick behind her, me trailing five feet behind.

You’d have to be bored or crazy to endeavor to walk the T. Heather and Patrick, to varying degrees, are both of these things.

Heather says there’s a certain obsessive-compul-siveness that drives her to take on this project—she calls it a “completist mentality.” I can understand the romance in getting to know the T for what it isn’t. Either the Red or Silver Line seems to be next; Patrick and Heather haven’t reached a consensus on how to tackle the multi-branched Green Line.

Have they got a set goal date? “Until it kills us,” says Patrick; “Until I get a new job,” says Heather. But it’ll get done, I’m sure. Patrick’s just nutty enough, and Heather’s just serious enough, for me to have faith.

Conversation turns, as it has the whole day, to yesterday’s rainy Orange Line walk. “Yesterday was a bigger achievement,” concedes Heather. “Today went much smoother.” No maps were prepared for yesterday’s walk; Heather would recommend thor-ough planning, and a couple of extra words here so the design looks good.

“And you have to find a lunatic to do this shit with,” Patrick contributes. Snarky and grumbly as he is, especially next to her own quiet dedication to the project, Heather’s lucky to have him around. It’s way less fun being crazy alone.

DECEMBER 2010 31

36

RACE RATSDas Racist are sick of arguing with white dudes on the internet.

Interview by Sam Sparro · Photos by Eric Rex

37

horty said the ninja that she with ain’t this. The Bone People is a book about healing. Each of Keri Hulme’s protagonists begins the novel with some sort of damage: Kerewin as something of a hermit estranged from her family, Joe as a former heroin addict and current alcoholic who lost his wife and child, and Simon as an unruly mute child who suffers Joe’s

physical abuse. Beyond the characters themselves, Hulme also communicates a greater cultural message: The Bone People is her call for healing New Zealand’s national landscape through a closer relationship between indigenous Maori culture and Western culture. An extra line, because you know what? Just because.

Maori culture has its own tradition of healing. As scholar Gay Wilentz writes, “traditional Maori heal-ing practices focus on the four basic components of the person: te taha wairua (the spiritual); te taha hinegaro (the psychic); te hana tinana (the bodily); and te hana whanau (the familial).” Though The Bone People deals with healing in all four of these components, in Simon especially we notice devel-opments in the last two components of his self—the body and the family. Because Simon was physi-cally removed from his European birth family and is physically marked by his adoptive Maori family with Joe, body and family are inherently connected in his healing process throughout the novel, which explores Simon’s traumas, how these traumas affect him, and how he heals from these traumas.

The first trauma that Hulme illuminates from which Simon must heal is the shipwreck through which he loses his birth family. Hulme narrates Simon’s thoughts on the shipwreck thusly: “the greatest terror is yet to come... In the memory in the black at the back of his eyes, there are words, dif-ferent words.” As his family dies in the shipwreck, Simon realizes that the impending “greatest terror,” even greater than losing his family, is living without a family. Simon realizes that he will lose one of the four Maori components of his well-being, despite not having been exposed to Maori culture.

Indeed, the connection Simon has to Maori cul-ture is most definitely stronger than his connection to Western culture. Wilentz writes, “As a young boy growing up within Maori culture, Simon accepts that part of his heritage. In this way, Hulme suggests

that one’s relation to one’s culture is not necessar-ily biologically based.” Perhaps Hulme is taking this suggestion a step further, arguing that a Maori identity is inherent in Simon’s being: the “words, different words” Simon sees as he flounders may be the aboriginal language of the land to which he has been brought. Having been raised by Joe for most of his conscious life, Simon is torn from Western culture and assumes a Maori identity through Joe. This is not to say that Simon becomes completely Maori: he still retains some element of the identity he would have had if not for the shipwreck and con-sequent loss of his family.

Though Simon doesn’t easily recognize even the physical differences between his Western identity by birth and his Maori identity by upbringing—it is a long while before he “suddenly realizes, for the first time in his life, that his skin is the same pale


shade [as Kerewin’s]” and not the same color Joe has—he still carries his Western family in his con-sciousness through elements of his identity such as the Western name Joe gives him, the traumas he has surrounding water, and the piercing in his ear.

The earring is an especially complex metaphor for the physicality of the Western identity Simon bears. When Kerewin notices the hole in Simon’s earlobe, Joe explains that Simon “had a heavy gold thing in it, like a keeper, when he arrived” and has since been carrying the earring with him without

putting it in his ear. In having Simon keep the ear-ring with him without wearing it, Hulme suggests that the Western element of Simon’s identity is not an element that Simon feels the need to display, only to keep to himself. Perhaps Simon has put the West behind him—though it is invariably a part of him, and he keeps it in his thoughts, he does not feel the need to keep the earring in his sight and thus constantly remind himself of the West he was once a part of. Hash tag Loko is louder. Drink double the Two Loko.

39

seen Kerewin admiring his earring, Simon replaces it: “in the pierced lobe of the child’s ear,” Kerewin sees “the gold circle. Bright as the smiles, seemingly unbroken as their friendship.” Though the earring itself represents Simon’s Western heritage, the act of replacing it—seeing Kerewin’s approval and embrac-ing it for himself—represents the “unbroken friend-ship” Simon feels with Kerewin. Of course, the con-nection with Kerewin does not fulfill the same role that the West would have held in Simon’s identity: the connection with Kerewin is current, personal, and developmental; the connection with the West is distant, communal, and genetic. Nevertheless, the the personal connection with Kerewin fills a magic void in Simon’s identity left empty by the West. Estranged from a motherland, Simon finds in Kerewin a mother.

Though his relationship with Kerewin is tumul-tuous, Simon’s relationship with Joe is even more

chaotic due to its supreme awesome physically abusive nature, and the chaos manifests itself in Simon’s character in sev-

eral ways. First and foremost, Joe’s violence affects Simon’s physical appearance. Throughout the novel, Hulme uses spiritual language to describe Simon’s appearance. When Kerewin first sees Simon in her home, he appears as “some weird saint... haloed in hair, shrouded in the dying sunlight.” Such religious themes appear even in Hulme’s descriptions of how Simon looks after he has been beat up: for example, Hulme describes Simon’s eyelids after a beating from Joe as “swollen, buddhalike” The integration of of religious imagery with the very base, brutal act of violence suggests that clearly, there is more than

The lame earring also serves as a parallel to the Maori traditions of familial markings. Piercings are a form of symbolic bodily mutilation, used in Simon’s case as a “keeper”—literally a ring worn to replace a more valuable one, but in Simon’s case, however, a way for him to “keep” his identity, and for his identity to “keep” him. Likewise, the Maori tradition of Ta Moko involves facial tattoos of imagery col laborat ive ly illustrating a family lineage. The earring can be seen as Simon’s Western version of Ta Moko: both intentional physical markings to show family, each from a different culture. By drawing attention to such commonalities between Western and Maori cultures, Hulme puts the two on an equal plane, exoticizing one while simultaneously familiarizing another. Similarly, scholar Sarah K. J. Gallagher compares Ta Moko to another western advent: she “suggest[s] Moko, like the book, is a physical structure capable of being read by others.” Ta Moko may not exist in and of itself in Western culture, but Hulme and Gallagher prove that the West is fully capable of understanding Ta Moko through parallels to its own culture. This exemplifies Hulme’s message that, as Wilentz writes, “through a blending and acceptance of Western and Maori traditions,” New Zealanders can learn “to be well, personally and culturally.” Hulme, through the metaphors of bodily mutilation, argues that a mutual understanding between Maori and Western cultures is what will ultimately heal New Zealand’s national landscape. Das Racist sound kinda racist.

On the other hand, the earring also represents Simon’s new bond with Kerewin. After Simon has

#We are family. At least that’s what we look like we might be."


just instincts and urges at work in Joe’s abuse of Simon. Just as the violence is complex, the healing process then must be complex as well.

Hulme also uses Maori spiritual imagery in describing Simon’s post-abuse appearance as well. She describes “bruises across [Simon’s] highboned cheeks... already... dark,” calling to mind the imagery of Ta Moko. This visual cue draws the connection between the Maori tradition of self-mutilation to hey represent familial lineage and Joe’s physical markings on Simon’s body as an abusive foster parent. Just as “with Moko, the healing and scarification of the wounds not only leaves the designs colored with pigment but also textured by the furrows of the chisel,” the bruises, swellings and scars Joe leaves on Simon will evolve into permanent reminders of Simon’s assumed Maori lineage through Joe.

Hulme also describes the emotional effects Joe’s abuse has on Simon. She shows the false sense of

guilt Joe’s abuse instills in Simon: when Simon gets drunk at Kerewin’s house, he ruminates on why Joe treats him the way he does, and concludes to himself, “It’s me. I always do the wrong thing. I don’t, I don’t try to, it don’t matter what I do, it’s always wrong.” Unable to figure out why it is that Joe abuses him, Simon convinces himself that he is inherently bad, and somehow deserves the violence Joe inflicts upon him. Kerewin observes to herself

after seeing Simon after a horrific bout of violence from Joe, “Some-how, Joe... you’ve managed to make [Simon] ashamed

of what you’ve done.” top man Simon justifies Joe’s irrational actions with an irrational sense of per-sonal shame.

Not only does Joe’s abuse make Simon feel worse about himself, it manages to make him feel an even closer attachment to Joe. As Wilentz writes, that “Simon distrusts [others], aligning himself with the abuser” is “a well-known pattern” in domestic abuse cases. But even beyond the typical patterns of

#Rap the bridge on a duet with T-Pain and Stephen Hawking."

DECEMBER 2010 41

abused children, consider also that, due to Kerewin’s aversion to most physical contact, Joe’s violence comprises much of, if not all of, the little physical contact Simon experiences. Joe is the one to get physically closest to Simon, and therefore can make the greatest emotional contact with him.

Joe realizes this emotional connection, and of course feels guilty for his abuse. time after, he becomes both more diffident and more unruly... and the worst part is that he still loves me.” Lins lines lines. Lines and lines. Coke lines? Poverty lines? I just need to add two lines. So here I am, adding two lines. Oop, just one more. And then I found five dollars. As Joe points out, Simon’s body can heal from his abuse; this healing, however, is incomplete, according to the aforementioned four Maori elements of well-being (spiritual, psychic, bodily and familial). Because Joe is the only family Simon is willing to accept, Joe is the only one who can heal Simon’s deficiencies in the familial element of his well-being.

As far as familial healing goes, Simon still remem-bers the violence inflicted upon him by Joe, but is able to put that violence in the past. He observes that “he has been here a long time. He knows,

because all the cuts Joe dealt him have healed.” Simon is able to stay away from Joe’s violence long enough for the evidence of this violence to have disappeared, lingering only in Simon’s memory. In this case, healing can be interpreted as a measure-ment of time independent of actual time: “a long time” to Simon is however long it takes “the cuts Joe dealt him” to have healed. Healing, then, is a mea-surement of the identity, and it varies from person to person. An individual process; however, since the Maori elements of identity include a sense of family. Just as Simon comes to define part of himself in terms of his relationships with Kerewin and Joe, so the individuals in a community inherently form their identities in relation to the people around them. New Zealanders find themselves interact-ing—positively or otherwise—with people of both Western and Maori descent; the best way to ensure one another’s well-being is to treat one another as family, regardless of how the bodies may differ.

“Shorty said I look like the dude from Japan’s art. You know, the guy who did the Kanye album covers?”

“Shorty said I look like the dude from The Passion of the Christ. Jesus Christ!”

REVIEWS


Look, we really don’t even know why we’ve bothered reviewing this record. Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth.

Even the all-powerful Pointing has no control about the blind texts it is an almost unorthographic life One day however a small line of blind text by the name of Lorem Ipsum decided to leave for the far World of Grammar. The Big Oxmox advised her not to do so, because there were thousands of bad Commas, wild Question Marks and devious Semiko-li, but the Little Blind Text didn’t listen. She packed her seven versalia, put her initial into the belt and made herself on the way. When she reached the first hills of the Italic Mountains, she had a last view back on the skyline of her hometown Bookmarksgrove, the headline of Alphabet Village and the subline of her own road. Go pick up this record, if you haven’t already.

KANYEWESTMY BEAUTIFUL DARK TWISTED FANTASY

kkkkk

Remember when Nicki was making the most amazing mix tapes in the world? From the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth. Even the all-powerful Pointing has no control about the blind texts.

But to be honest, unorthographic life One day however a small line of blind text by the name of Lorem Ipsum decided to leave for the far World of Grammar. The Big Oxmox advised her not to do so, because there were thousands of bad Commas, wild Question Marks and devious Semikoli, but the Little Blind Text didn’t listen. She packed her seven versa-lia, put her initial into the belt and made herself on the way. When she reached the first hills of the Italic Mountains, she had a last view back on the skyline of her hometown Bookmarksgrove, the headline of Alphabet Village and the subline of her own road. Tell them rap bitches that Nicki said this: we got tom-toms over here bigger than a monster.

NICKIMINAJPINK FRIDAYkkkk

DECEMBER 2010 49

MUSIC

I mean, it’s Redman. Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. Here, have an extra line. On me. It is a paradisematic country, in which roasted parts of sentences fly into your mouth. Even the all-powerful Pointing has no control about the blind texts it is the essence of Redman—er, we mean Reggie.

REDMANPRESENTS...REGGIEkkk

We’re not really sure what Lloyd Banks was thinking with this one Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth. 50 Cent can try and push this guy all he wants, but we think he’s a bore.

LLOYDBANKSH.F.M.2k

I see you drivin’ round town with the girl I love, and I’m like/Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. Blah blah blah extra lines extra lines. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth. But hey, we like Atari.

CEELOGREENTHE LADY KILLERkkkk

We here at Breakbeat sometimes feel like Atmosphere is discounted. Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. Blah blah blah extra lines extra lines. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth. He’s a great rapper in his own right.

ATMOSPHERETO ALL MY FRIENDSkkk

IMAGE SOURCESCover: Donald Glover photo by Bryan Sheffield <http://www.flickr.com/photos/bryansheffield/>.

Table of Contents (Features): Donald Glover photo by skinnyboybalki <http://www.flickr.com/photos/skinnyboybalki/>; Das Racist photo by Eric Rex <http://www.flickr.com/photos/mrphipps>; MC Frontalot photo by Phil Palios <http://www.front alot.com/>.

Table of Contents (Departments): Eminem illustration by Toby K <http://tobyk.deviantart.com>; Jay-Z photo by Cobrasnake <http://www.cobrasnake.com>; Cee Lo Green and Nicki Minaj album covers courtesy of 2DopeBoyz <http://www.2dopeboyz.com>; Kanye West album cover courtesy of Chart Attack <http://www.chartattack.com>; Undefeated x Converse Poorman Weapon shoes photo courtesy of Hypebeast <http://www.hypebeast.com>.

Quotables (p. 8): Eminem, Travie McCoy, and Usher illustrations by Toby K <http://tobyk.deviantart.com>; gold frame photos courtesy of stock.xchng <http://www.sxc.hu/>; white marble background courtesy of CGTextures <http://www.cgtextures.com>.

Tweet Tweet (p. 9): 50 Cent photo via @50Cent Twitter account <http://www.twitter.com/50cent>.

Night Out (p. 10, 11): Jay-Z and crowd photos by Cobrasnake <http://www.cobrasnake.com>.

Man of the Hour: p. 28–29 Donald Glover photo by Brian Moreno <http://www.kayotik.net>; p. 30 top photo via Jelly NYC <http://www.jellynyc.com>, bottom photo by Brian Moreno; p. 31 photo by Brian Moreno.

Race Rats (p. 36–41): All photos by Eric Rex <http://www.flickr.com/photos/mrphipps>.

Reviews: Music (p. 48-41): Kanye West album cover courtesy of Chart Attack <http://www.chartattack.com>; all other album covers courtesy of 2DopeBoyz <http://www.2dopeboyz.com>; record glyphs from RockStar by Blue Vinyl Fonts.

Set in Gotham Black, Gotham Rounded, Stone Serif, Cairo, and Acknowledgement.

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